Tag Archives: Karnataka Vaibhava

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.

Leave a comment

Posted by on August 21, 2017 in Uncategorized


Tags: , , ,

Dilip Simha & A K Jagdish @ Karnataka Vaibhava , Nadasurabhi – 19 Aug 2017

Vocal Duet : A Dilip Simha & A K Jagdish

Violin : R Achyutha Rao

Mrudangam : Adamya Ramanand

Ganjira : Anil Parashara

Thematic Concert on the Compositions of Harikeshanallur Muthaiah Bhagavathar


01. mana mOhana (varNam) – mOhanam – aTa

02. durgAdEvi duritanivAriNi – navarasa kannaDa – Adi

03. lambOdara sOdara – kalyANi – sankIrNa chApu  ( A,N,S )

neraval & swara @ ‘ nA kOrina varamunu nosagi nannubrOvumu’

04. vancatOnunA – karNaranjani – Adi tishra gati  ( A )

05. mAnamu kAvalenu talli – sahAna – Roopakam ( A,S )

06. sharavaNa bhava – pashupatipriya – Adi

07. shivam haram sAmbam bhaja manasA – kAmbOji – Adi x 2 ( A,N,S,T )

neraval & swara @ ‘ shivam haram sAmbam bhaja manasA – sadA’

08. ANDavan darishanamE – jOnpuri – Adi

09. dhIm tAre nArE nArE ( thillAna ) – hamsAnandi

10.  shLOkam ( swasthi prajabhyA..) – madhyamAvati

Rain and flood affected Koramangala made it difficult for us to attend the concert. But I always like thematic concerts for one, it give a direction to the artists and audience and secondly, gets some of the not often heard gems are brought out of oblivion. However, it has to precede a clever planning and intelligence from the artists.

Muthaiah Bhagavathar, to be is one of the best ( if not the best) composers of the 20th century and has produced a vast number of compositions in various languages, complex tala structure and have credited with compositions in ragas created by him. True to the spirit of the evening, the artists should be given credit in choosing to sing the compositions in all the four languages and a variety of tala with a few popular and a few not often heard kritis.

It took a while for the duo to get into the groove. Initial pieces, where they had to sing together was a bit patchy. There were occasional slips later too. However, the pieces where they had to sing independently ( alapana , neraval and swaras) it was much better. The larger pieces were very good. As KSSR mentioned in his remark, the team excelled in neravals. Both Kalyani and Kamboji neravals were top class. The kalpana swaras were also very good.

The pick of the evening was the main kamboji kriti. Very rarely heard in concert, a gem in kamboji. Very aptly chosen pallavi line for neraval, the sangatis that followed in the anu pallavi and the eduppu.. this is a fabulous composition and the artists did a fantastic job here. Percussion support was vey good. Adamya is a seasoned artist and it is good to see him growing in stature as a matured artist. Anil Parashara was brilliant too.

Leave a comment

Posted by on August 20, 2017 in Uncategorized


Tags: , , ,

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.

Leave a comment

Posted by on August 21, 2016 in Uncategorized


Tags: , ,

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.

Leave a comment

Posted by on August 20, 2016 in Uncategorized


Tags: , , ,