Tag Archives: Karnataka Vaibhava

Pavan Rangachar, Karnataka Vaibhava, Nadasurabhi 20th Aug 2016

Vocal : Pavan Rangachar

Violin : Nagaraj Mandyam

Mrudangam : Renukaprasad


01.  siddhivinAyakam sEvEham – mOhanakalyANi – Muthaiah Bhagavathar (A )

02. chintayAmi jagadamba – hindOLam – Jayachamarajendra Wodeyar ( A,S )

03. varalakSmi namOstutE – gaurimanOhari – Mysore Vasudevachar ( A,S )

04. kEshavanolumeyu Aguva tanakA – thODi – Kanaka Dasa (A,N,S,T)

neraval & swara @ ‘varavElApurAdi kEshavana smarisuvavanigE mOkSavu tappitE’

05. harihara ninnanu mechisa bahudu – sindhubhairavi –  Purandara Dasa

06.  shLOkam ( mangaLam kOsalEndrAya) – mdhyamAvati

First time listening to Pavan Rangachar in a concert. He has a very sweet, mellifluous voice, very similar to a play back singer or one used to hear in ‘light music’. His singing style is also matching to his voice. Not a typical open throat-ed powerful and stressing at appropriate places as we see in the classical singers. However, his ability  and manodharma is at par with the leading artists of the day and he presented a scholarly concert yesterday at Nadasurabhi.

First of all, he stayed to the theme of the concert, selecting and limiting his choices to ‘karnataka composers’. Even in that, he picked some interesting mix  and presented them very well. Concert did have a feeble start, with both mOhanakalyani and hindOLam did not really appeal to me. But, with the gowrimanohari kriti onwards, he seems to have found his rhythm. Short alapana, the kriti and the kalpana swaras are presented with such a command and it was pleasing to listen. Swaras were top class,too.

The main, thodi alapana was again done very well, especially some of the long fast paced , bhriga laden sangatis in ‘akara’. Couple of instances of improper breath breaks (he had a trouble during gowri manohari swaras as well) could have been avoided, especially  since he was on a smooth flow at that instance. Otherwise,his thodi was again of very high caliber. Kriti was a very pleasant surprise. I am a ‘sucker’ for long neraval lines and he did a wonderful job here. So was the kalpana swaras, which brought Sri Renukaprasad to limelight with some impressive accompaniment. He played a short tani avartanam suiting to the occasion. Concert concluded with a devarnama, post the main.

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Posted by on August 21, 2016 in Uncategorized


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Yogavandana , Veena Concert @ Nadasurabhi, 20th Aug 2016

Veena : Smt. Yogavandana

Mrudangam : Smt. Ranjani Venkatesh

Morsing : Bhagyalakshmi Krishna


01. mAtE malayadhvaja ( daru varNam) – khamAs – Muthaiah Bhagavathar ( O )

02. jaya jaya jaya jAnakI kAnta – nATa – Purandara Dasa (O,S)

03. orAjUpu chUseDi – kannaDagaULa-  Thyagaraja

04. pAlayamAm pArvatIsha – kannaDa – Dikshitar ( A,N,S )

neraval & swara @ ‘gAnAmrta rasapAna’ ??

05.  nEnendu vedakudurA – karNatakabehAg – Thyagaraja

06. rA rA rAjIvalOchana – mOhanam – Mysore Vasudevachar ( A,t,S,T)

07. tungA tIra virAjam  – yamunAkalyANi – Kamalesha Vittala

08 thillAna – chenchurutti – Veena Sheshanna

First concert of this years ‘Karnataka Vaibhava’ series started with a beautiful concert by Vidushi Yogavandana.Very rich music, easy and elegant way of playing the instrument and the mannerisms on stage. She received tremendous support from the supporting crew on the stage. An all women ensemble, played very well in tandem.

Concert started brilliantly with the daru varNam of Muthaiah bhagavathar and the nATa kriti of Purandara Dasa, strumming a short raga sketch in both the cases. Kannada was the first detailed alapana, which was done with some style. Palayamam parvatheesha ( announced as Dikshitar kriti, but doubtful) was unexpected, but was welcome. She played short neraval and few rounds of kalpana swaras. Concert until now was mic-less.Late arrival of the mic and amplification came in as a blessing in disguise as one could listen to the artist in close quarters with out artificial amplification. She played another short piece before the amplification was installed.

Main mohanam alapana was very good, tanam was even better. After ‘ra ra rajeevalochana’ , she played some brilliant kalpana swaras first in mOhanam itself and later in as I could gather bhauLi and shivaranjani ( was there a fleeting rEvati as well ?). This part we the best of the concert. The lady percussion duo played an impressive tani avartanam, with Bhagyalakshmi producing some exquisite sounds from the tiny instruments.

Beautiful concert by the vidushi despite the lack of amplification and the distraction in the middle as they were trying to set things up.

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Posted by on August 20, 2016 in Uncategorized


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