Suguna Varadachari, Music Academy

Suguna Varadachari
Akkarai Subhalakshmi
Kallidaikurichi Sivakumar
Trichy Murali

Music Academy 30th December 2004 10:00 am

sarasijanAbha - varNam - nATTai - Adi
cinta dIrcarA sItA ramaNa - saurAshTram - rAmanAtapuram (pUchi) srinivAsa iyengAr (svarams)
unDEdi rAmuDu - harikAmbhOji - rUpakam - tyAgarAja (neraval and svarams at "tAmasAdi guNa rahituDu dharmAtmuDu sarva samuDu")
O jagadambA - Anandha bhairavi - Adi - shyAmA sAstri
srI vAncanAtam - suruTTi - dIkshitar (ALApanai)
Evidhamulanaina - sankarAbaraNam - Adi (2 kaLai) - tyAgarAja (AlApanai, neraval and svarams at "sAkshAtkAramu nI vE rAmA")
taniyAvartanam
kaNDen kaNDen kaNDen sItaiyai - vasantA
RTP - shanmukhapriyA - catusra aTa tALam (kaNDa naDai) 9 akshara eDuppu
"pannirukaiyanE ennaiyaaLum ArumuganE mukkaNNan umaiyInRa maganE"
taniyE bAlaganAi - nAdanAmakriyA
tillAnA - bEhAg (composed by srimushNam rAjA Rao)

The nATTai varNam was nicely rendered and the p d n s prayOgams highlighted. The saurAshTram kriti and svarams were nicely rendered. This season is having quite a few saurAshTram pieces (atleast at concerts i attended)

The neraval and svarams of the harikAmbhOji kriti were good. Akkarai Subhalakshmi's was good in parts of this pieces with khamAs creeping in once.

O jagadambA was very rendered with a bhavam. The suruTTi AlApanai was very good with the rAga lakshNam neatly displayed right in the beginning. It was built very well and the kriti was also very good.

The sankarAbaraNam was elaborated very exhaustively. The violinst's AlApanai was good, but for one snatch of kalyANi and sArangA in between. The rare tyAgarAja kriti was rendered very well, and the neraval and svarams with korappu were also good. The percussionists were supportive all thro' the concert and the taniyAvartanam was also very good.

The shanmukhapriyA elaboration started on the lower half of the octave and was not so evident till she sang the p d n s part. The AlApanai was good. This p d n s was also once twice sang plainly without any gamakAms. The tanam was also good. The violinist's AlApanai and tanam had some unwanted gimmicky sancArams. The pallavi was rendered nicely and the full concert party kept to the tALam and did an excellent job with it.

T N Seshagopalan, Indian Fine Arts Society

T N Seshagopalan
V V Ravi
Vellore G Ramabhadran
B S Purushottaman

The Indian Fine Arts Society at German Hall on 29th December 2004 at 7:30 pm

rAma nAma - kAnaDa (AlApanai and svarams)
sObillu - jaganmOhini
thriyambukalika (slOkam) in nATTakuranji followed by budhamAshrayAmi (svarams)
pAsuram on ANDAL followed by ungaL puzhakkaDai - tiruppAvai - Anandha bhairavi
bhuvinidAsuDE - sriranjani (AlApanai, neraval, svarams)
sItA varasangItA - dEvagAndAri
kAmAkshi anudimanu - bhairavi (AlApanai, neraval, svarams)
aNNalum nOkkinAn - hamIrkalyANi
RTP - sAmA - Adi (2 kaLai) 6 akshara eDuppu
"ikapara sAdanamE manasA mAdava dyAnamE"
rAgamAlikA svarams in rItigauLa, sAvEri, varALi, bEhAg, suruTTi
sundari en soppanathil - kamAs
tillAnA - bEhAg
pavamAna - saurAshtram
shriyathkAntAya - madhyamAvati

It was a nice rendition of kAnaDa to start with. The nATTakuranji slOkam on budhan and the vAra kriti were nicely rendered and the svarams were sparkling. Anandha bhairavi was nicely explored during the pAsuram.

The first elaborate piece was sriranjani. The elaboration was very good. The phrases being very innovative and exhaustive. The svarams rendered by TNS and his son were good with kaNakku. The voice of his son lacks weight. dEvagAndAri was lovely.

The bhairavi AlApanai, though could have been a bit more longer, was very good. The madhyama kAla jaNDai phrases and the way his voice glides across the octave(s) is just amazing. The svarajati was rendered with a lot of bhavam true to TNS style. The neraval at the last caraNam was short and the svarams involved a lot of kaNakku and were rendered in tisra, kaNDa and misra naDais. With the grand piece and the AlApanai and the nereval and lovely svarams, one was expecting it to be the main piece, but, the piece was not followed by taniyAvartanam and it was already almost 2 hours into the concert. The hamIr kalyANi piece was nicely rendered.

Then TNS started off with a AlApanai of sAmA. The 10 minute AlApanai was good with a lot of unheard sancArams. The short tAnam and pallavi which were rendered in a race to time were also nicely presented with pratilOma and rAgamAlika svarams in 1 kaLai. It was followed by a short tani, which was racing again.

Sri. V V Ravi on the violin did a decent job and was doing a rather short version of all the ragams. His reply to bhairavi was not even for half the time TNS sang. His sAmA AlApanai was hardly three minutes. He however did not do anything which should not be done.

Sri. Ramabhadran on the mrudangam, as usual provided good support by following the main artist and did a good job with the tani also. Sri. Purushottaman on the kanjIrA also was very good.

Overall a very enjoyable concert. I guess TNS is in form this season.

R Vedavalli, Indian Find Arts Society

R Vedavalli
R K Shriram Kumar
J Vaidhyanathan
S Karthik

The Indian Fine Arts Society at German Hall on 29th December 2004 5 pm
Thematic concert on Music of Alwars and Acharyas

GnAnAnandamayam - Virutham - Sri VedAnta Desikar (HayagrIva Stotram)
kadiravan guNadisai - TondaraDippoDi AzhvAr pAsuram - Bouli (not Revagupti)
ungaL puzhakkaDai - Sri AndAL's TiruppAvai - Ananda bhairavi
aththigiri - Sri Vedanta Desikar (TiruchinnamAlai) - aTANA (AlApanai and svarams)
inRE kazhal kaNDEn - PEyAzhvAr pAsuram - kAmbhOji (neraval and svarams)
thirumAlirunchOlaimalai ninRa - NammAzhvAr pAsuram - shaNmukhapriyA (AlApanai, neraval and svarams)
GOdA dEvi sadA bhajAmi - KalyaNapuram Aravamudachariar - kAnaDA
UnvADa - TirumangaiAzhvAr pAsuram - kEdAragauLa
Ishvaryam - Sri Parasara Battar (Sri GuNaratna kosham) - shankarAbharaNam (AlApanai, neraval and svarams)
taniyAvartanam
oru madiyen - Sri Vedanta Desikar (NavamaNi mAlai) - vasantA
sriyathkAntAya (mangaLam) - madhyamAvati

I walked in only during the aTANA. The rAga essay and svara prastArams of aTANA were good. There was a neat short sketch of kAmbhOji before the kriti with nice neraval and svarams.

The shaNmukhapriyA AlApanai was very refreshing and the improvisations were well structed. The main piece, shankarAbaraNam was very good. The piece and the neraval that followed were lovely. The korappu svarams at g, p and s' were nicely structured with a lot of kaNakku.

Sri. Shriramkumar on the violin did a good job all thro' the concert. The percussionist also were good all thro' the concert. The tani, though a bit shortened because of time constraints was good

Manda Sudharani, Carnatica

maNDA sudArANi - nAgai srirAm - V V ramaNa mUrty

nIpada pankaja - bEgaDa (AlApanai and svarams)
nI daya rAdA - vasanta bhairavi
enta bhAgyamu - sArangA (AlApani and svarams)
paTTividuvadu rA - manjari
RTP - tODi - tisra rUpakam (4 kaLai chaukam)
"mA madura mInAkshI manasija vairi manOhari"
taniyAvardanam
srI vENugOpAla - kuranji (AlApanai)
entarikulukE - kalyANi - paTTAbirAmayyA jAvaLi
gitu dhaniku - danasrI tillAna

The concert started a good 15 minute late. Smt Sudharani started off with a bEgaDa AlApanai. It was a very very creative AlApanai with lot of lovely sancArams. She used the sancArams like s' d p and p r s (which sounded very much like bEgaDa but still are not regularly sung while singing the rAgam) very generously all thro' the AlApanai and while singing svarams both in vilamba and dhurita kAlams. One particular sancaram which caught me was a superb glide from the tAra madhyamam to nishadam and she did it more than once. She also sang all the four caraNams of the kriti.

The sArangA AlApanai was another treat. She had delibrated avoided the usage of suddha madyamam wherever one should not. The svarams true to her standard were innovative and lovely. The manjari kriti was rendered well.

The tODi AlApanai was very aesthetically structed. She had taken care to give a comprehensive AlApanai and the tAnam was nothing less than that. The pallavi was good. She rendered it with a lot of bhavam. The svaraprastArams in tODi in multiple naDais with multi naDai korappu was thrilling. tODi again had a lot of new interesting sancArams. one example being r n. g m.

Sri. Sriram on the violin did a lovely job. His Alapanais were more tending to the main artist's renditions. He did a good job in picking up the pallavi and the multi naDai svarams and korappu. Sri. Ramanamoorthy on the mrudangam provided good support all thro' the concert and his excellent tani was very well structured.

Her kuranji AlApanai was good and the dIkshitar kriti was rendered with a lot of feeling. The jAvaLi and tillanA saw the end of a nice musical evening.

The concert gave one a feeling that such artist with a lot of talent are rather less public and people with a lot "influence" and who do lobbying are given more publicity and also get into more senior slots while such people with a lot of talent and creativity are still in rather dark with respect to a normal rasikA. It was disheartening to see that not even first 5-6 rows were filled for such a lovely concert.

Hope atleast from now on, organisers give the really deserving talented artists due credit and enough slot to perform.

Sanjay, Parthasarathy Swami Sabha

Sanjay - Varadarajan - Kamalakar Rao

Sri Parthasarathy Swami Sabha, Vidya Bharati, 25th December 6:30 pm

viribhONi - varNam - bhairavi
enna gAnu - kAmavardini - rUpakam - bhadrAcalam rAmadAsar (neraval and svarams at "rAma rAma rAma yanucu)
sArasadaLa nayanA - khamAs - catusra jhampai
brovabAramA - bahudAri (AlApanai and svarams)
sivakAma sundari - mukhAri - Sivan
gana naya dEsika - rishabapriya - Adi (2 kaLai) - kOtIsvara iyer
taniyAvartanam
aruNacala nAtam - sArangA
RTP (?) - bhairavi

The concert started on a good note with the bhairavi varNam being sung well. The kAmavardini piece and khamAs were not quite upto what one expects from Sri Sanjay.

The bahudAri AlApanai was very cheaply rendered with a lot of gimmicks and generous usage of m d n s phrases and the svarams were also very gimmicky and it was just jugglery all the way. Sri Varadarajan also followed thro' the whole affair just like his shade. (nizhal mAdiri)

After a rather good rendition of sivakAma sundari, the rishabapriyA was the next one to hit us all. It was started on a very very ambigous way. It sounded like charukEsi and vAcaspati mixed up and did not effort to get anywhere close to listenable music. The svarams which were overdone, again invovled a lot of jugglery and gimmicks, making it a flop.

The taniyAvaratanam was the best part of the concert. Sri Kamalakar Rao did a brilliant job with the mrudangam both while accompanying and in the tani.

aruNAcala nAtam was and its preceding AlApanai were a bit healing to all the damage the bahudAri and rishabapriya did. His bhairavi AlApanai was also quite dull and one could not sit in the auditorium any more.

It was on the whole a very mediocre concert.

On a more general note, this year again i felt that the venue is rather uncomfortable in terms of parking lots and seating arrangemnet and all that. The Acoustics are tolerable. I was again reminded of the old Parthasarathy Sabha Auditorium which once stood in Triplicane.

T N Seshagopalan, Carnatica

Sri TN Seshagopalan - vocal
Sri S Varadarajan on violin
ThanjAvUr Sri MurugabhUpathi on the mrudangam
Sri Srisundar kumar on the kanjIrA.

ninnu kori varNam mOhanam
gajamukha kAnaDa Kotiswara Iyer
bAlakanakamaya Atana
ardhanArIsvaram kumudhakriyA
Abayambha sahAnA Dikshidar
puLLin vAi - pAsuram - Khamas followed by kANIrE in Khamas by OOthukadu
Annavayal Puduvai followed by Kartu Karavai Tiruppavai in usEni
nenarunchi nAnu Malavi
sri rAjagOpAla Saveri
bhajan Ahir bhairavi
tillAna nirOshtA
nInAma rUpamulaku and sriyatkAnthAya

TNS started with the standard ninnukori varNam with svarams at the pallavi line.

his svarams for Ela nIdaya rAdu (bAlakanaka) in aTANa were very thrilling. The three rAga AlApanais were in kumudakriyA, mALavi and sAvEri

The kumudakriya was very well handled with a lot of creativity. There were svarams sung at "AgamAdi sannutam". The sahana kriti was also rendered well. The periyAzhvAr pAsuram in khamAs "puLLin vAi piLandittAi" followed by the OVK piece "kANIrE kanjamalar kaNNan" was lovely. This was followed by a pAsuram on ANDAL in UsEni and the thiruppAvai of the day, kaRRa karavai.

The mALavi AlApanai was something done with a lot of innovation. The sAvEri just out of the world. Lovely concert

Carnatica Brothers, Carnatica

Carnatica Brothers - Nagai Sriram - Srimushnam Raja Rao - H Sudeendra (double mrudangam)

evvari bODana - AbOgi
sarasIruhAsana priyE - nATTai (svarams)
entarO mahAnubAvulu - srI rAgam
ragupatE - sahAnA (short sketch)
ennai nI maravAdE - amrutavarshini (short rAgam and svarams)
kAmAkshi - svarajati - yadukulakAmhOji
sarasa sAma dAna - kApi nArAyaNi (svarams)
RTP - naTabhairavi - Adi (2 kaLai) 1/2 eDuppu
"bhairvai bhArgavi shankari vara ravi sashi naTa"
jagajanani - ratipatipriyA
karEtarE barE bAratE

It was good effort. The kriti renditions were good. It would have been better if there were more AlApanai and neravals. the naTabhairavi for a long time was quite ambigous. Accompanists also did a good job.

R Vedavalli, Music Academy

R Vedavalli - Vocal
R K Shriram Kumar - violin
Neyveli Narayanan - mrudangam
Sukanya Ramgopal - ghatam

Music Academy - 26th December 2004 - 10:00 am

entO prema - varNam - suruTTi
ninnu jIchi - saurAshtram
praNathAthiharAya - sAmanta
sambhO mahAdEva - kAmavardhini (AlApanai, neraval and svarams at "sura brinda kirITa"
enraikku sivakrupai - mukhAri (AlApani and svarams)
karuNichuDaku - sindhumandAri - paTNam subramaNya iyer
tuLsi bilva - kEdAragauLa (short AlApanai)
dAkshAyani abhayAmbikE - tODi - tisra Ekam - dIkshitar (AlApanai, tAnam in tODi, rItigauLa, shanmukhapriyA, srI rAgam, neraval and svarams in the pallavi line)
taniyAvartanam
ceDiyAya valvinaigaL & vAnAda selvamum - kulasEkAzvAr pAsurams in sAvEri, kharaharapriyA, nIlAmbari, varALi, suruTTi
nAdapriyA sivanenba - hamsAnandi - lingAyat vacanam
vAnibandu - kAnaDa jAvaLi
tillAna - sankarAbaraNam
pavamAna

It was a lovely concert. The kAmavardini was good. MukhAri was phenominal. The short but still lovely kEdAragauLa AlApanai was something which still stays in the mind.

The tODi AlApanai with a lot of madhyama kAla prastArams was good. After the tAnam, one was expecting a complicated pallavi. The grand rare abhayAmaba kriti was rendered with a lot bhavam. The neraval and svarams were good. As usual, there was a lot of kaNakku and korappu. The latter part of the concert was also very enjoyable.

Sri. Shriram kumar on the violin was good all thro' the concert especially the tODi and kEdAragauLa. Sri. Narayanan on the mrudangam did a good job while accompanying and the tani was also well done. Smt. Sukanya on the ghatam was also good. Quite different from the some other Ghatam Artists who dont play for half the kriti, one could hear the ghatam starting from the pallavi of every piece.

Suguna Purushottaman, Music Academy

suguNa purushOttaman
mullaivAsal chandramauLi
B gaNapathy rAman
ravichandran

Music Academy, TTK Auditorium, 25th December 2004 10:00 am

Era nApai - varNam - tODi (in three kAlams including tisra gati and also svarams at caraNam)
Orajupu chOsEdi - kannaDa gauLa - dEsAdi
caraNam carNam enrAnE - saurAshtram (AlApanai)
jankAra sruti - pUrvi kalyANi - Adi (neraval and svarams at "sankara sAmbava sadAsiva OmkAra"
brovavammA - mAnji - misra cApU
sudA mAdurya bAshaNa - sindurAmakriyA
srI subramaNyAya namastE - kAmbhOji - tisra Ekam (AlApanai, neraval at "vAsavAdi", svarams at "vAsavAdi", "sakala dEva" and "dApadraya haraNa")
taniyAvartanam
raghuvaram rAgavam - naTabhairavi - kaNDa Ekam (kaNDa naDai)
parAgu mAtela - savEri (sounded like a dEvarnAmA)
R T P - dharmavati - kaNDa tripuTa tALam (kaNDa naDai) 2 aksharam eDuppu, 7 aksharam kArvai - "thirumalai vAsa srinivAsa aruLa tharuNam iyAh"
short tani
govinda harE - rAgamAlikA (kApi, bAgEsrI, bEhAg, sindhubhairavi, dEsh, sivaranjani, tilang) - Adi (own composition)

The tisra rendition of the tODi varNan was very good. The saurAshtram AlApanai, though a bit short was something which one has to preserve in memories. Hearing saurAshtram other than pavamAna is a treat and with AlApanai, it was something really vintage. The neraval and svara prastharams of pUrvikalyANi were good. 'brovavamma' was rendered with a lot of bhavam.

the kAmbhOji AlApanai was true to the veteran's class. The sancArams were quite intersting ones. The pallavi and anupallavi were rendered very nicely. After the anupallavi, she sang the pallavi line first in vilamba kAlam and then in tisra naDai and then in dhurita kAlam and then went on to render the caraNam in dhurita kAlam. After that, she came back to the vilamba kAla rendition of the neraval line. The neraval was good and the svarams had a lot of kaNakku and korappu. During the beautiful tani she suddenly shifted from tisra Ekam (2 kaLai) to rUpakam (2 kaLai)

The naTabhairavi and sAvEri pieces were just rushed thro' to reach the pallavi. The elaborations of dharmavati were good. the tAnam was very short. The pallavi was rendered with the usual change of kAlams and all that and the svarams were also nice with involved kaNakku. The kOrvai which she used to finish the svaram was good. The last rAgamAlikA, a composition of Smt. Suguna was a nice ending.

Smt. Suguna was caught in the constraint of time from the end of anupallavi of "shrI subramaNyAya namastE". The tani was not fully finished. the korappu was done together. The tAnam was very short. Sri. Chandramouli on the violin was good at his saurAshtram AlApanai. He did a good job with kAmbhOji as well. His expansion of dharmavati was tending to the main artist's presentation. He just played one strech of tAnam. During the pallavi and svarams, he was missing it a few times. The percussionists were good all thro' the concert and both the tanis, the second being just 6-7 Avartams long.

Nedunuri Krishnamurthy, Valayapatti Nadalaya

Nedunuri Krishnamurthy
Delhi Sunderrajan
Guruvayoor durai
E M Subramanian

valayapaTTi nAdalayA - hEmamAlini kalyANa maNDapam - 24th December 2004 - 6:30 pm

sAmi ninnE - varNam - shrI rAgam
vandE ham - hamsadvani - annamAcharyA
parvata rAja kumAri - sriranjani - dIkshitar
okapAri - kalAvati - tyAgarAjar
enduku nI manasu - kalyANi - tyAgarAjar
taniyAvartanam
tunga tIra - sALagabhairavi - kamalEsa dAsar
short slOkam from dAsarti sadakam of bhadrAcalam rAmadAsar in khamAs
rAma jOgi - khamAs - bhadrAcalam rAmadAsar
palukutE - AbhEri - annamAcharyA
slOkam - vandE sambhO umApatim suraguru vandE jagatkAraNam vandE pannaga bhUshaNam vandE pakshInAmpatim vandE sUrya shashAnka vanni nayanam vandE mukundapriyam in shaNmukapriya, mOhanam and kApI
jAnakI ramaNa - kApI - vAnamAmalai jIyar
patiki hArati rE - suruTTi - tyAgarAja
srIyath kAntAya and mangaLam kOsalEndrAya

Sri. Krishnamurty was just amazing. He started off with a short sketch of shrI rAgam and the varNam. His detailed elaboration of hamsadvani was very good. In fact i have never heard such a detailed elaboration at all. A neat rendition of the kriti was followed by kalpanai svarams. His first set of svaras were just s r g p n, with various kAlapramANams. then he sang a few shadja varjiya svarams. And then there was a beautiful koraippu and korvai. There was intricate kaNakku involved in every svaram rendered.

The next was a short shrIranjani AlApanai followed by the rare dIkshitar kriti and the kalAvati kriti followed. The way he started kalyANi, many ppl (including yours truly) expected to be another main piece. The way he elaborated kalyANi made one think otherwise. His long essays and innovative sancarams were very good that even one who get turned off by kalyANi did sit up to listen to it in detail. The elaborations were very good. The kriti was followed by neraval and svarams at 'tyAgarAja hrudaya sadanuDa accandamu nIdu vEDitirA'. The neraval patterns were unique true to nEdunUri and his svara prastArams again had involved kaNakku in every svaram and there very intersting and inspiring svara patterns.

The accompaniment of Delhi Sunderrajan was just following the main artist. Though he missed out a few kaNakkus. Guruvayoor durai was really good in accompanying and his tani was just out of the world. The patterns of this tani and the tIrmAnams were really good. E M Subramanian did not lack either in any department and had done his work on stage really well.

The latter part of the concert started off with a sketch of sALagabhairavi and there was a short sketch of AbhEri also. The slOkams were all rendered with complete bhakti and bhavam.

Previously, he sang the starting lines of rAma jOgi piece first in bhajanai sampradAyam and then in concert style crediting semmangudi for this piece to be brought on concert stage.

For once, one did feel that the organisers should not give speeches in the middle of the concert. With due respects to the Sri. Valayapatti who spoke, it was rather painful to listen to long speech in between the kalyANi AlApanai of nedunuri and the violinist's reply. Still his mention that carnAtic music is Atma rAgam and cine music is sarIra bhAvam was just the right thing one could say.

nedunuri said that all he is, is because of his guru sangIta kalAnidi Dr. S. pinAkapANi. He said his only bAkyam in this birth was his association with his guru. He said that, gnanam is to know to whom to learn from rather than the actual learning process. He said the sAstriya sangItam is the one which touches the heart and not just superficial. He also went on to say that shishyas who inherit one's tradition and knowledge are always better than children who inherit materialistic wealth. He ended with saying sampradAya sangItam needs upAsanai.

It was a stellar and truely inspiring performance by the 77 year old veteran who still sings with the same charm as he use to decades ago. The ease with which his voice traversed from mandara madhyamam to thAra pancamam was just amazing. No Wonder he sang at Academy for 53 years in a row.

T K Govinda Rao, Nada Inbam

T K Govinda Rao - S Varadarajan - Srimushnam V Raja Rao

sAmi yentha - varNam - suruTTi - tisra Ekam (2 kaLai) (rAga sketch and svarams)
ninnE bhajana - nATTai (rAga sketch and svarams)
telisi rAma - pUrNachandrikA (svarams)
kA vA vA - varALi (Alapanai svarams at pallavi line)
enna gAnu rAma bhajana - kAmavardini (neraval and svarams at 'sannudinchi srI rAma')
bAlagOpAla - bhairavi (AlApanai, neraval and svarams at 'drONa karNa duryOdanAdi')
taniyAvardanam

He sang all the three caraNams of telisi rAma. His rAga sketch of suruTTi and nATTai were very good. The varALi AlApanai was well rendered. The 15 minute bhairavi AlApanai starting from the thAra shadjam was of a different flavour.

Sri. varadarAjan's accompaniment was very good. He played along with the main artist. Sri Raja Rao also played well. I had to leave after the tani and do not know what else was there...

Sangeetha Sivakumar Krishna , Music Academy

Sangeetha Sivakumar at Academy on 20th December 2004 2:30 pm

Era nApai - varNam - tODi
vandE ham jagatvallabham - hamsadvani (rAga sketch, svarams)
nijamarma mulanu - umAbaraNam
ninnuvinA - pUrvikalyANi (AlApanai, neraval, svarams)
ranganAyakam - nAyaki
vara rAgalayA - cEncukAmbhOji
evari mATa - kAmbhOji (AlApanai, neraval and svarams)
taniyAvartanam
svara sundara - paras - dharmapuram subbarAyar jAvaLi on vINai dhanammAL
enadhu uLLamE - mIrA bhajan
maitreem bhajatha

neat rendition. Her voice was not co-operative. The Accompanists also did a good job.

T M Krishna, Sruthilaya Kendram

TM Krishna - TKV ramanujAchAryulu - srimushNam rAjArao - AS shankar

18th December at 16:15 hrs for sruthilaya kEndra at Asthika Samajam, Venus Colony

sarasijAkshi - varNam - nAyaki
baktabikshu - sankarAbaraNam (S)
OrajUpu chUsEdi - kannaDa gauLa
ambA nIlAyadAkshi - nIlAmbari (r,s)
samajavaradA - suddha sAvEri
ETi janmamidi hA - varALi (RNST)
nArAyaNahari - yamunakalyANi

the rare varNam in nAyaki was a delight to start with. sri. krishna's rendition of one tALa svaras for sankarAbaraNam were good. His elaborate slow tempoed nIlAmbari essentially highlighting key sancArams including the nishAdam also were vintage stuff to hear. the vilamba kAla svarams also were in similar lines. It was quite unarguably the best piece of the concert. The main varALi was rendered neatly with good aesthetics.

sri. rAmAnujAchAryulu was good all thro' the concert and kept close to krishna always. sri. rAjArao provided good support all thro' the concert and his tani was also good. sri. shankar on the ghatam also was good.