M S Sheela, Music Club IIT Madras

M S Sheela
Dr Hemalatha
J Vaidhyanathan
Adambakkam Shankar

IIT Madras Music Club 16th August 2005

chalamEla - darbAr varNam - Adi
vandE ham - hamsadvani - kaNDa cApu - annamAcharyA (S)
mInalOcani amba - tODi - rUpakam - HMB (NS)
pAdamE tuNai - valaji - Adi - PS
anupamaguNambuti - aTANA - kaNDa cApu - T (S)
bAle bAlEndu bhUshaNi - rIti gauLa - Adi - T (RS)
inta kaNTe - kannaDa - rUpakam - paTNam subramaNia iyer
paripAhimAm sri dAsaratE - shubapantuvarALi - Adi - maisUr vAsudEvAcharyA (R)
nannu pAlimpA - mOhanam - Adi - T (RS)
taniyAvardanam
innu daya bhAratE - kalyANavasantam - kaNDa cApu - purandara dAsa
nindati charaNa - hamsAnandhi ashtapati - catusra Ekam - jayadEva
thaka thadini thaka - brindAvani - Adi - purandara dAsa
nI nAma rUpamulaku - saurAshtram

Smt. Sheela started the concert with a brisk rendition of the darbAr varNam and the hamsadvani kriti which followed had a nice cittai svaram and svarams were handled well.

All that the tODi kriti lacked was an AlApanai. But, for may be a couple of instances where her gandAram and nishAdam sounded non-tODi-ish, the piece was well rendered and so were the nerval in kIzh kAlam alone and svarams at 'mANikya vINAdari malatvaja pANDya kumAri' with the valaji kriti to follow.

The aTANA song was good and the svara passages reminded many a rasika of stalwarts of yesteryears. The first AlApanai of the evening was rITigauLa. The AlApanai was a right mixture of all that the ragam can have with nothing extra. The kriti was well rendered and there were svaras at the pallavi line.

A Quick kannaDa piece let to the start of the shubapantuvarALi AlApanai. The first few sancarams made one think, it was the start of an elaborate main AlApanai for the evening, but, rounded it off pretty soon with the rare kriti.

The main mOhanam AlApanai was good in a way that, it did not include some of the catchy anya-svara-involving phrases. The kriti was rendered with routine svarams and korappU at ga.

The post main part of the concert had a nice rendition of the two dEvarnAmas and the ashtapati

Dr Hemalatha on the Violin, did a better job with all the AlApanais and the svarams. She was supportive through the concert and showed her capacities during her rAga essays and svara passages.

Sri Vaidhyanathan on the mrUdangam, was supportive thro' the concert and a good taniyAvaradanam. Though a bit loud, the korappU was distinctly different from the regular korappu one gets to hear during any taniyAvarthanam. Sri Shankar, with a ghatam that had a poor tonal quality, was adequate.