O S Thyagarajan @ Nadasurabhi 15th Oct 2017

Vocal : O S Thyagarajan

Violin : Vittala Rangan

Mrudangam : Anoor Ananthakrishna Sharma

Ghatam : Giridhar Udupa

List :

01. erA nApai ( varNam) – thODi – Adi -Patnam Subramanya Iyer ( O )

02. nI bhakti bhAgyasudhA – jayamanOhari – rUpakam -Thyagaraja ( S )

03. sundara tara dEham – pantuvarALi – Adi – Thyagaraja ( N,S )

neraval & swara @ ‘rAgAdi samhAram rAghavam udAram’

04. sanAtana paramapAvana – phalamanjari – Adi – Thyagaraja

05. rAma daivamA – surutti – Roopakam – Thyagaraja ( A,S )

06. amma rAvamma tuLasamma – kalyANi – khaNDachAp – Thyagaraja ( N,S )

neraval & swara @ ‘tAmarasa daLanEtru tyAgarAjuni mitru’

07. ETi janmamidihA – varALi – mishra chAp – Thyagaraja

08. chakkanirAja mArgamu – kharaharapriya – Adi x 2 – Thyagaraja  ( A,N,S,T )

neraval & swara @ ‘ kaNTiki sundarataramaku rUpamE ‘

09. lAli yugavE -nIlAmbari – Thyagaraja (  O )

10. mangaLam – saurAStram – Thyagaraja

Vid OST’s concert have some staple ingredients. These days, they are largely limited to Thyagaraja compositions. He has a sense of measure to his singing. The alapana, neravals and kalpana swaras each of them takes a set pattern, they are apt and appropriate quantities. Which is why I like to attend his concerts. One comes back home with a sense of experiencing the essentials of carnatic music.

Sunday’s concert was also rich in the selection of ragas and kritis. While he mentioned in the middle of the concert that this is going to be an all Thyagaraja composition concert, relating his name and the residence number to the great composer, on a lighter note. However, his selection of kritis and the elaborations were very impressive. We were talking about surutti , the same after noon, and about its disappearance from concert these days and here comes a majestic alapana. Fablous neravals for pantuvarali ( as I always mention, an early pantuvarali neraval and swara can definitely lift the concert), nice selection of jayamanohari and phalamanjari in the middle, grand surutti piece before a surprise kalyani neraval and swaras ( I was happy there was no alapana for kalyani, but I can always manage to sit through kalyani kriti and neravals) were very good.

One should talk about the accompanying artist here. In most of the times it is they who make or break the concert to the audience. From the start it was evident that there is great synergy on stage. Vid Anoor Ananthakrishna Sharma, played delectably through out the evening, supported outstandingly by Udupa. Vittalarangan was on his elements, while following and in his turns. They made the difference in the evening.

Kharaharapriya alapana was very elaborate and good with some interesting phrases and a classy wind up at lower octave. I was hoping for ‘ni samanamevvaru’ but it had to be ‘chakkani raja margamu’. One does not get tired of listening to it again and again. Majestic neraval at ‘kantiki sundara’, detailed swaraprasthana in two speeds etc followed as expected. Percussion team played an excellent tani avratanam. There was no ‘banging’ the instrument, no gesticulation, no unwanted exhilaration, but delectable rhythmic poetry of instruments. I loved some of the ghatam returns.

There was nothing left to do post the main as he had spent enough time through the concert on larger pieces. The concert was soon wound up with a nilambari kriti and mangalam.

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Posted by on October 17, 2017 in Uncategorized


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Arun Achanta-S Chandramouli-Raghavendran T @ J P Nagar , 01 Oct 2017

Vocal : Arun Achanta

Violin : S Chandramouli

Mrudangam : Raghavendran T


01 mahiSAsura mardani ( varNam) – AndOlika – Adi- Muthaiah Bhagavathar

02 Ekadantam bhajEham – bilahari – Mishra Chap-  Dikshitar ( S )

03 mAyamma yani nE – Ahiri – Adi -Shyama Shasthri

04 sarasvati vidyuvati – hindOLam – rUpakam – Dikshitar

05 amba brOvavE – dharmavati – rUpakam – Bidaram Krishnappa ( A,N,S )

neraval & swara @ mahiSAsura madamardini madanavairi dOSiNi ( tOSini)

06 nannu kaNNatalli – sindhukannaDa – Adi – Thyagaraja

07 pArvati ninnu nE – kalgaDa – Adi tisranaDai – Shyama Shasthri

08 pAlincu kAmAkSi – madhyamAvati – Adi x 2  – Shyama Shasthri ( A,N,S,T )

neraval & swara @ ‘ kAntamagu pEru ponditivi kAruNyamUrti ‘

09 paluku tEnala talli – AbhEri – Annamacharya

10 mangaLam – saurAStram – Thyagaraja

This trio of musicians have been performing together for a while. The last time I listened to them was few years ago at Ranjani Fine Arts, during the ‘Gurupoornima’. Arun is an excellent singer, the rItigaula he sang last time was brilliant. When the invite came in, I had decided to listen to them again. The program was a small ‘chamber concert’ attended by 20-25 people at Mouli’s residence.

The concert was very very good. Selection of kritis to the way it was presented, despite few minor slips, was commendable. The start with a rare varnam itself was a bright start. It took a while for the team to warm up, with a bilahari kriti and a leisurely sung ahiri. Mayamma was a bit slower than the usual tempo, bringing out the essence of the raga.

Dharmavati alapana was grand and very impressive by both the artists. Amba brovave was a huge surprise. I’ve heard S Sankar and MS Sheela singing this composition. Arun’s effort was equally brilliant with some classy neraval and swara prasthana. To me, this was the high point of the concert. To good fillers came in. Both nannu kanna talli and kalgada kriti were very good. On public demand, he sang the pallavi &anupallavi of the Thyagaraja kriti in Kalgada.

Madhyamavati was main, running 15-20 min late into the stipulated time. The alapana was limited to some collected phrases of importance of the ragam. I thought that was clever, given the time constraints. However, he did justice to the kriti with detailed neraval and swaras. Chandramouli was eloquent as ever. Played some delectable phrases of dharmavati and followed the neraval and swaras with considerable elan. Raghavendran played an intricate tani avartanam. True to his school, his accompaniment was apt for the kritis and the improvisation of the main artists.

A very commendable effort by the team, to an appreciative audience.

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Posted by on October 2, 2017 in Uncategorized



S Sowmya @ Kanchi Mutt, Malleswaram 30 Sep 2017

Vocal : S Sowmya

Violin : Charulatha Ramanujam

Mrudangam : H S Sudheendra


01. pancmAtanga mukha – malahari – rUpakam- Dikshitar ( S )

02. bAlE bAlEndu bhUSaNi – rItigauLA – Adi – Thyagaraja ( A,S )

03. annapUrNE vishAlAkSi – sAma – Adi – Dikshitar

04. ekkAlathilum unnai maravAmalirukka – pUrvikalyANi – Adi x 2 -Thiruvarur Ramaswami Pillai ( O )

05. jAlandhara supIThastHitE – valaji – rUpakam -Muthaiah Bhagavathar ( A,N,S )

neraval & swara @ bhavarOga nivAriNi , bhaktajana paripAlini

06. sudhA mAdhurya bhASaNa – sindhurAmakriya – Adi – Thyagaraja ( S )

07. pArvati ninnu nE – kalgaDa – Adi tisranaDai –  Shyama Shasthri

08. sarasvati anniye – kharaharapriya – Adi – Papanasam Sivan ( A,N,S,T )

neraval & swara @ ‘inchOl? shukapANi aLikula vENi’

09. himagiri tanayE – shudha dhanyAsi – Adi – Muthaiah Bhagavathar

10. karuNa jUDu ninnu nammina – shrI – Adi – Shyama Shasthri

11. mangaLam – saurAStram – Thyagaraja

On the ‘Vijayadashami’ day, one was expecting a concert mostly on the theme of devi, and there was no surprise there from Vidushi Sowmya, who presented a good concert at the ‘Kanchi Mutt’ yesterday. She was struggling a bit with her voice and it was evident in the initial part of the concert. It started off well with the malahari composition and the next two three pieces weren’t making any impact, apart from some spirited attempt from the accompanying artists.

Ritigaula alapana wasn’t any great to talk about, and despite one of my favorite kriti in that raga, and her attempt to sing in a very slow tempo, it did not make a lasting impact. Both annapurne and ekkalathilum was further dampened the evening.

However, it changed with valaji. Nice impressive alapana with some beautiful phrases, even bettered by Charulatha in her attempt, was the change in the tide. The corridor of malayamarutam/valaji is always tricky for me, but I got it right here. There was only jalandhara to sing. While the composition isn’t with any great lyrical beauty, it is very appealing musically. Neraval was superbly done, so was the kalpana swaras that followed. Charulatha excelled in her turn, with Sudheendra chipping in brilliantly. Two short kritis in quick succession came in, both were very impressive for their selection. Few rounds of swaras for sudha madhurya was nice.

Kharaharapriya alapana was grand. It started beautifully and despite loosing steam ( and voice a bit) in the middle she ended with some mesmerising phrases. Charulatha was again did a class act in her turn. I was trying to recollect a ‘devi kriti’ in kharaharapriya as the alapana was going on, could come up with ‘bhArati dEviya’ , the Purandara Dasa composition set to tune in kharaharapriya. Saraswathi Anniye was not in my mind and it was a pleasant surprise. Very well presented, nice detailed neraval and some impressive swara prasthana made it worth the effort. Sudheendra in a new appearance was doing a great job through out the concert, also presented a decent tani avartanam.

Post main was quickly wound up with himagiri tanaye and Shyama Shasthri’s Sri ragam composition. A good concert with the theme. Modest first half and pretty good second half , if I may say so.

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Posted by on October 1, 2017 in Uncategorized


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Saketharaman @ Nadasurabhi , 17th Sept 2017 – Lalgudi Jayaraman Remembrance Day Concert

Vocal : Saketharaman

Violin : Apoorva Krishna

Mrudangam : Sai Giridhar

Ghatam : G Omkar Rao

Theme : Lalgudi Jayaraman Remembrance Day


01 senthil nagar mEvum dEvA ( varNam) – nIlAmbari – Adi – Lalgudi Jayaraman ( O)

02 Isha pAhimAm – kalyANi – rUpakam – Thyagaraja ( O,S )

03 ADmODi galadA – cArukEshi – Adi -Thyagaraja ( A,S )

04 kanDE kanDE kanDE namma – varamu – Adi – Purandara Dasa

05 pAlincu kAmAkSi – madhyamAvati – Adi x 2 –  Shyama Shasthri ( A,N,T )

neraval @ kAntamagu pErukoNDidivi kAruNyamUrti

06 kaNNanai kANbadeppO – rAgamAlika – ??

07 jatiswaram ( dhA pa ga ma ri sa ) – sindhu bhairavi/ swarabhedam to ??, behag,mohanakalyani,tilang – Adi tishra naDai – Lalgudi  Jayaraman

08 kaNDEnA gOvindana – chandrakauns ? – Purandara Dasa

09 thillAna ( dhIm tadara dhIm tada) – pahADi – Lalgudi Jayaraman

10 mangaLam – saurAStram / madhyamAvati – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

Special concert on the 87th birthday of Shri Lalgudi Jayaraman by one of his prime disciple yesterday at Nadasurabhi.  True to the day and theme, Saketharaman presented the concert including a few of the composers kritis as well as a few popularised by him.

Saketharaman sang in his typical style. Full of energy and speed. He marveled at the high speed swara singing. Unfortunately, both his alapanas were also in the same vein, as longer fast paced phrases.  While they were interesting and had some excellent passages for both charukeshi and madhyamavati, the beauty and essence of his efforts would have made more appealing impact with a reduced speed. Apoorva on her turn did exactly that. She started in such a mellifluous way, unhurried through slow and measured phrases in the early stages of her alapana. She was very impressive through out the evening. Sai Giridhar, seeing for the first time, also made a lasting impact. The tani avartanam was brilliant.

There was a elaborate neraval( and only one for the evening) for madhyamavati, excellently done. Surprised, when he decided to skip the kalpana swaras. I thought, he had plans for a pallavi for the evening, which did not come. Considering the concert was for a little over 2:30 hrs, it wasn’t time pressure. Not sure, what was the intention behind it.

Post main had an interesting jatiswara composed by the legendary musician. The clever swarabheda from sindhubhairavi was nice.  A Pahadi thillana concluded the concert.

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Posted by on September 18, 2017 in Uncategorized


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Harini & Sharada , Karnataka Vaibhava @ Nadasurabhi 20th Aug 2017

Vocal : Bangalore Sisters ( Harini & Sharada)

Violin : Nalina Mohan

Mrudangam : B R Srinivas

Ghatam : Srishylan

Thematic Concert on Mysore/Karnataka Composers

01. shLOkam ( Om nama: praNavArthAya)

mAtE malayadhwaja ( daru varNam) – khamAs – Adi-Muthaiah Bhagavathar

02 shrI mahAgaNapatim bhajEham – aThANa – Adi-Jayachamarajendra Wodeyar ( A,S )

03. gangAdhara tripurahara – pUrvikalyANi –  Roopakam – Mysore Sadashiva Rao ( A,N,S )

neraval & swara @ ‘ahi bhUSaNa amaravana aja sannuta badarIvana’

04. ikO namma swAmi – maNirang – mishra chAp – Purandara Dasa ( O )

05. sadA sAranga nayanE – ranjani – Adi – Yoga Narasimham ( A )

06. mari mari vacunA – kAmbOji – Adi x 2 – Mysore Vasudevachar ( A,N,S,T )

neraval & swara @ ‘rAmuni mahima nEn Emani pogaDudu’

07. karEdarE barabAradE guruvE – janasammOdini? – Adi – Kamalesha Vittala

08. bArO namma managE – vasanta – Purandara Dasa

09. thillAna ( nAdru dru dhIm takaNu dhIm ) – chandrakauns ? – Anoor Ananthakrishna Sharma

10. mangaLam – saurAStram/ madhyamAvati – Thyagaraja

Another one of a meticulously planned concert in the ‘Karnataka Vaibhava’ series at Nadasurabhi. What is heartening to see is the freshness in the selection of compositions, instead of singing the ‘safe’ kritis.

To me the high point of the concert was the pUrvikalyani kriti. Sadhashiva Rao’s master piece was sung wonderfully. The neraval was classy, the kalpana swaras that followed were superbly done. Kamboji main, for the second day in succession, this time with a different take. Mari mari vacuna is not heard these days, apart from Malladi Bros. There was again detailed neraval and swaras here.

Yoga Narasimham’s ranjani composition and the thillana of mrudangam maestro Anoor Ananthakrishna Sharma were new to me. What was again impressive to listen and watch was the way B R Srinivas accompanied the main artists. He, I thought, had a wonderful performance. Nalina Mohan was in her usual self, however her return alapana’s were shortish for most of the ragas.

This is a great initiative from Nadasurabhi and I observed they bring new artists each year , presenting newer compositions as a result.

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Posted by on August 21, 2017 in Uncategorized


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