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Friday, September 09, 2005

T M Krishna at Nada Sudha

T M Krishna - R K Shriram Kumar - N Manoj Siva

9th September 2005, 6:30 pm

Nada Sudha, Subha Rathan Hall, Velachery

vAtApi gaNapatim - hamsadvani - Adi - MD
mInAkshI mE mudam dEhi - gamakakriyA - Adi (2 kaLai) - MD (RNS)
pakkala nilabaDi - kharaharapriyA - misra cApu - T (RS)
varAlendhu - gurjari - Adi - T
RTP - shankarAbaraNam - Adi (2 kaLai) 1/2 eDuppu
'dAsarathE karuNA payOnidhE ina kula tilaka'
rAgamAlikA svarams in sahAnA, maNirangu, pantuvarALi, sAvEri, danyAsi, bilahari, varALi, nATTAkuranji, lathangi, shaNmukhapriyA, sAmA
taniyAvardanam
sabApatikku - AbhOgi - rUpakam - PS
slOkam - 'karacaraNa krutam...' in kEdAragauLa, kEdAram, sindhubhairavi
visvEsvara darisan - sindhubhairavi - rUpakam - ST
rAmachandrAya - kuranji - Adi - BR

The concert started with a rendition of the popular dIkshitar kriti in hamsadvani. The short sketch of gamakakriyA was good to hear. The kriti was rendered well. The neraval and svarams were carefully structured to avoid the purvikalyANi phrase 'p d p s'. It was gamakakriyA to the fullest.

The kharaharapriyA AlApanai which followed was just a long elaboration with the kriti to follow. The Krishna-trademark-fire work svarams which followed generated applause from the larger part of the audience. The gurjari kriti was rendered well also.

The AlApanai in shaNkarAbaraNam was drowsy and was more indicative of a kriti than a pallavi. Even the early part of the tAnam was not so well built to suite a pallavi. It only after a couple minutes into the tAnam one could develop the idea that it is going to be pallavi. The AlApanai and the tAnam went on for about 40 minutes. Before starting the pallavi, Krishna requested people to not leave in between. He asked them to leave right away if they were getting delayed or leave after the tani. The pallavi was set in Adi (2 kaLai) with 4 akshara eDuppu.

The pallavi was rendered well with change in naDai to tisram. The rAgamAlika svarams were in vilamba kalam and did not spam longer than one Avartanam for each ragam. The dhurita kAla koraippu was in shankarAbaraNam.

The AbhOgi kriti was rendered at a very slow pace with a lot of bhavam. The slokam and sindhubhairavi kriti were nice also. While the kEdAragauLa and kEdAram parts were very good and enjoyable, it was rather disheartening to see the sindhubhairavi being applauded more than the others. The kuranji mangalam was a welcome change from the regular saurAshtram.

The Violinst was good all thro' the concert in rendering good support and also sticking to the main artist. His individual essays during the AlApanai and neraval and svaram for all the pieces were good. The mrudangist played a good role to boost the concert. His intricate patterns were not so easily taken by not so educated audience, but was enjoyable.

The Hall though provided a good ambience for a concert, left a lot more to be desired in terms of sound settings and acoustics.

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