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Sunday, June 26, 2005

T N Seshagopalan at nAdOpAsanA

T N Seshagopalan - M Chandrasekaran - Guruvayoor Durai - A S Krishnan

nAdOpAsana - 26th June 2005 - 6:05 pm

srI rAja mAthangI - suddha dhanyAsi varNam - Adi - HMB
Ananda naTana prakAsam - kEdAram - cApU - MD (RS)
nAdOpAsana - bEgaDA - Adi(2) - T (RNS)
satbhaktiyu - Ananda bhairavi - rUpakam - RSI
srI kAnta nIyaDa - bhavapriyA - Adi -T (RS)
mAyammA - Ahiri - Adi - SS
vandAn vandAn - mOhanam - AK
nAdalOluDai - kalyANavasantam - T
slokam 'srIvidyAm' followed by dEvI nI pada - kAmbhOji - Adi(2) - SS (RNST)
dOdh piyOrE mOrE - kOsalam - bhajan on nAmadEv's bhakti
shObAnE - kAmavardini - T
tiruppugazh - khamAs
nI nAma rUpamulaku - saurAshtram
sriyathkAntAya - srI rAgam

The HMB varNam was a rare treat and the following kEdAram AlApanai was very good. The svarams at 'sangIta vAdya' were nicely framed. The bEgaDa AlApanai was something to remember and the kriti with neraval and svarams at 'dandri laya svara gAna vilOluDu' were good.

The Ananda bhairavi kriti was well rendered and the bhavapriyA which followed though enjoyable did have a lot of 'subhapantuvarALi' and 'tODi'-ish phrases.

mAyamma was rendered in slow tempo with a lot of bhAvam. The mOhanam kriti and nAdalOluDai which followed were good also.

I was expecting kAmbhOji to be the main piece and it did come true. The AlApanai was more concentrated in the madhyamasthAyI and very less of the higher and lower octaves because of throat problems. The AlApanai, the slOkam and the kriti which followed were all very well rendered and the rare ShyAma sAstri kriti was actually a treat to here. neraval and svarams were done at 'srI velayu madura... mInAkshI'

The tukkaDa section had a bhajan and the utsava sampradAya piece shObAnE and led to the tiruppugazh.

The TNS concert at nAdOpAsana this evening was a perfect example of a good vidwan in bad form. His throat had problems and his sruthi lapses were quite evident. One is reminded of the comment, "TNS must sing at home for a hour before coming to a concert for the concert to be enjoyable from the beginning" for his voice came to a good form only towards the end of bhavapriyA.

M Chandrasekaran on the violin was his usual playing good. GuruvAyUr Durai played well thro' the concert and his tani was very well structed. A S Krishnan on the morsing provided good accompaniment also.

Actually an enjoyable concert, even beyond TNS' throat problems, which actually showed up quite a few times.

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Sunday, June 05, 2005

Vijay Siva, Musiri Chambers

N Vijay Siva - Mullaivasal G Chandramouli - N Manoj Siva

Musiri Chambers, 5th June 2005 4:01 pm

varNam - sAmi ninnE - kAmavardini - Adi
lalitE srI pravriddha srImati - bhairavi - Adi - T (neraval and svarams at 'kanna talli')
bhajarE bhaja mAnasa - kannaDa - T (AlApanai and svarams at pallavi line)
rAma rAma pAhi - dEvagAndhAri - ST
nannu brOcuDaku - tODi - Adi - subbarAya sAstri (AlApanai)
brOva bAramA - bahudAri - Adi - T (neraval as 'srI vAsudEva' and svarams at 'brOvabAramA')
abhayAmbA - kalyANi - Adi (2 kaLai) - MD (AlApanai, neraval and svarams 'abhaya varada pANi')
taniyAvardanam
ini enna pEccirukkudu - sahAnA - vaidIsvaran kovil subbarAma iyer
kR.SNam kalaya - mukhArI - nArAyaNa tIrtar tarangam
ArA amudE arasE - rAgamAlikA - tAyumAnavar
veTTa veLi tannil - mukhAri - kudambai siddar
eppo varuvArO - jOnpuri - gOpAla kR.SNa bArati
Amor jonma bhUmi - rabIndra sangIth - Tagore
pUnguyil kUvum pUnjOlai - kApI - kalki kR.SNamUrty
tiruppugazh - mOhanam
pavamAna - saurAshtram

The concert started with a swift varNam and the bhairavi kriti would have been better, if it were prefixed with a short AlApanai. The nerval and svarams were good.

The first elaboration of the evening was kannaDa which was well rendered with svarams and the dEvagAndhari kriti to follow.

The elaboration of tODi was rather thrilling with a lot of nice sancArams. The beautiful AlApanai was followed by a even more beautiful rendition of the grand kriti. It was indeed disappointing to not have nerval and/or svarams for the kriti.

Neraval in bahudAri was nicely done and the swarams were well patterned aesthetically. The main AlApanai of kalyANi was very elaborate and the kriti was rendered with a lot of bhavam to be followed by the neraval and svarams which were again well patterened.

The post-tani part saw a brisk sahAnA kriti and a tarangam neatly presented. The rAgamAlikA piece (i guess a kAvaDi sindu) had cenchuruTTi, punnAga varALi and sindhubhairavi.

Then Sri Manoj Siva requested for veTTa veLi tannil, and a second piece in mukhAri was presented.

Then came a set of chits to the diaz. A short AlApanai prefixed the jOnpuri kriti which was started at the anupallavi line. The rabIndra sangIth piece was rendered for a request from the audience for a patriotic song. The nicely rendered kApi piece was on request also.

Sri Vijay Siva was in good form and his voice was well suited for the chamber music concert. His rAga bhAvam and diction deserves yet another appreciation. Sri Chandramouli on the violin did a very good job. His AlApanais of kannaDa and tODi were especially good. His replies to the svarams in bahudAri and kalyANi also deserve a special mention. Sri Manoj Siva on the mrUdangam gave a good accompaniment by playing for the kriti. His taniyAvardanam also had some nice sounding patterns which made it enjoyable.

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