Tag Archives: Nadasurabhi

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.

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Posted by on August 20, 2017 in Uncategorized


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Padma Sugavanam @ Nadasurabhi , 19th Mar 2017

Vocal : Padma Sugavanam

Violin : Mathur Srinidhi

Mrudangam : R S R Srikanth

Ganjira : A S N Murthy


01  ??sarasijanAbha (varNAm) – ??mAyAmALavagauLa – Swathi Thirunal

(reached towards the end, I could be wrong)

02 shrI mahAgaNapatE shrI vallabhApatE – AbhOgi – N S Ramachandran ( N,S )

neraval & swara @ ‘tAmarasa daLanEtra tAmasa timira nEtra’

03  vENugAna lOluni – kEdAragauLa – Thyagaraja ( A )

04  EdayyA gati – chalanAta – Koteeswara Iyer

05 ninnE nammitinayya – simhEndramadhyamam – Mysore Vasudevachar ( A,N,S )

neraval & swara @ ‘pannagEndra shayanA, pannagAri vAhana’

06  shrIkanta nIyada – bhavapriya – Thyagaraja

07 RTP – hamsavinOdini – chaturashra triputa x 2 kaLai , +1 ( 2 akSara) eduppu

pallavi line ‘ nigama sudhA vinOdini, nIrajadaLa lOcani sadA-‘

rAgamAlika swaras in ‘ varALi , sAma, sAvEri, pUrvikalyAni’

07b. tani Avartanam

08 mOsa jEsEnE (jAvaLi) – sindhubhairavi – ??  ( O )

09  mareya bEDa manavE – behAg – Purandara Dasa (O )

10 mangaLam – saurAStram – Thyagaraja

I missed her concert a couple weeks ago at Pranava Arts. When the announcement of change of the main artist came from the organisers, I decided to make a point to attend.  Listening to her for the first time. I reached the venue as she was concluding the varnam.

What I found interesting is her selection of ragas and the compositions. Nice mix of composers, tala and tempo. Another impressive attempt with hamsavinodini as pallavi. I also found her grip on laya impeccable, especially during kalpana swaras where she did some fabulous stuff. The concert itself had a slow start, the spice was missing initially. It was from the simhendramadhyamam onward the concert elevated to the top gear. It was brilliant from there.

She sang a nice neraval for Abhogi kriti and had some elaborate swara patterns to end, giving us the glimpses of what is her mettle, the next couple of the songs weren’t great. Kedaragaula alapana wasn’t anything to write home about. Even the kriti did not really move me, despite being one of my favourite.

Simhendramadhyamam alapana was longer, lot of fast bhriga laden phrases to some good effect. I liked them, but some of the upper octave takes weren’t very pleasing. All my cribs end here. The kriti, classy neraval at pannagendra shayana, and the brilliant kalpana swaras that followed were the high point of the evening. I think, it was here, the rest of the artists on stage jelled together and found cohesiveness. She did some tremendous swara patterns here, with some improved percussion support.

By now, the change was visible, more at ease and confident. A energetic bhavapriya was sung before the main. A pallavi was in the offing, but hamsavinodini wasn’t one expected. Balamuralikrishna’s famous pallavi was the reference and she did announce that the pallavi was indeed composed by the legendary artist, with very clever padakSara usage. Tow phase alapana was very good. Tanam was even better. Pallavi neraval was good with very well executed trikalam. The percussion here ( and while following the violin) wasn’t upto the mark, as I found something amiss. Ragamalika swaras were good too, not sure if they too follow the ‘swarakSra’ pattern. I need to check.

Taniavartanam was very good. The percussion had their moments, they followed the singing pretty well except a few places. ASN Murthy produced some awesome music from the instrument. Srinidhi was the first to get into the groove, his alapana of kedaragaula and simhendramadhyamam were good, even though the volume output was low and was hardly audible against the high shruti sound.

Post main was again wasn’t great. A rarely heard javali and a customary ( sorry to say this) devarnama before mangalam. But, that has been my perennial complaint. I always liked artists who give some focus to this section of the concert.

Vid. Padma Sugavanam is having a busy month in Bangalore in March. I’m sure we will hear many more concerts of her in Bangalore in the months and years to come.


Posted by on March 20, 2017 in Uncategorized


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Abhishek Raghuram @ Nadasurabhi Annual Festival, 06 Nov 2016

Vocal : Abhishek Raghuram

Violin : H M Smitha

Mrudangam : Arjunkumar


01 vanajAkSirO (varNam) – kalyANi – Ramanathapuram Srinivasa Iyengar ( O, S)

02 vallabha nAyakasya – bEgaDa – Dikshitar ( O,S )

03 koluvai unnADe – bhairavi – Thyagaraja ( A,S )

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

neraval @ ‘malayadhvaja pANDyarAja pUjita pankaja charaNa’

swara @ chi0ttasawa phrase

05 eDayyA gati – chalanATa – Koteeswara Iyer ( A )

06  RTP – Anandabhairavi ,sAma, SaNmukhapriya – chaturashra aTa x 2 kaLai ,2 aksharam eDuppu

pallavi line ‘SaNmukhapriya janani sAmagAna vinOdini sadAnanda bhairavi

swaras in Anandabhairavi,sAma& SaNmukhapriya with one round in bhairavi

07 nAnEke baDavanu nAnEke paradEshi – behAg – Purandara Dasa ( A )

08 alarshara paritApam – suruTTi – Swathi Thirunal

09 mangaLam – saurAStram –  Thyagaraja

The concert of the series – at least among the 4 I attended. It wasn’t the complicate ‘all encompassing’ pallavi that made me say that. It probably was the bhairavi…wait the neraval and outstanding swaras that was sung for kannaDa, no was it the chalanAta alapana, or should I join the rest and say the pallavi ?

He came just in time , or a minute or two late, to the venue and was on the stage immediately. As the introductions and other formalities were completed ( in less than 5 mins, which  Nadasurabhi is known for), the settings and the rest of arrangements were completed. Kalyani varnam of Poochi with a few rounds of added swaras set the evening up. Crisp begaDa followed , again with few rounds of kalpana swaras.

The bhairavi that followed, we said, was the ‘piece de resistance’ of the season ( or so we thought, until we heard the next one). Beautiful alapana and some outstanding swara prasthana. It this was wow, there came kannaDa. As he was singing the alapana, leaned to his right and told Smitha that he will continue to the kriti ( which meant she will have no turn to play the alapana ). Palayamam pArvatheesha was accompanied with a grand neraval and a very very interesting and jaw dropping swaras at the ‘chittasawa passage’. So far so good. He proceeded with the next alapana, explaining some one requested that. The first 3-4 minutes of that was again real gem. Very slow, short , lower octave sangati’s made the beginning very very nice and there was no traces of the more familiar nATa anywhere. Kriti was equally impressive with fewer rounds of swaras.

After all this, a grand finale was expected. When he started the alapana in Anandabhairavi, I was delighted. For long I was wishing for a grand Anandabhairavi. It did not last long, as he glided it into sAma with some style. Sama alapana was then drifted to shanmukhapriya. Next few minutes was the three way movement in speed, octave and raga and Iam lost for words. I should still say, shanmukhapriya received maximum adulation from the singer over the other two. It was similar in the case of tAnam too. It is difficult to sing tAnam in sAma, and naturally it received the lowest ‘mindshare’. Tanam too lasted for a very long time, moving between the three ragas.  Smitha, copped up with all these very well, trying her best to live up to the occasion.  Pallavi, he mentioned composed and popularised by Lalgudi Jayaraman, was sung in all possible combinations making it extremely complex and complicated to follow. There was even more structurally  complex swaraprasthana for each raga, each at different ending. Once, he sang swaras in bhairavi appropriately ending. The whole affair was one awesome display of skill, knowledge and impeccable execution. I have only seen TNS doing it with such control and conviction.

It is tough task for the accompanying artist to follow the main artist when he is in such form. Arjunkumar is a seasoned artist and he was at ease and was adding to the flare with his own interventions at appropriate time. His tani avartanam, in chaturashra ata to me was a tribute to the extra ordinary pallavi that was sung by Abhishek. Smitha should receive a special mention for her efforts to lift herself to match the lead artist.

Post main was disappointment to me. 3-4 minutes of behag alapana did not help the devarnama. Swathi padam was even worse. Lyrics was messed, wrong split of words, unwanted cuts and stretches, the way the padam was sung made me ‘facepalm’ a couple of times. I am sure a native Bangalorean would have felt the same for nAnEke badavanu. May be he will look into it and restrain himself while singing padams and devarnama or shorter devotional pieces. I am not letting these small issues to affect my excitement about this concert. This was one awesome concert.

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Posted by on November 7, 2016 in Uncategorized


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Sangeethasurabhi T V Gopalakrishnan @ Nadasurabhi Annual Festival 6th Nov 2016

Vocal : T V Gopalakrishnan

Violin : S Varadarajan

Mrudangam : Anoor Ananthakrishna Sharma

Morsing : M Gururaj


01 sarasUDa ( varNAm) – sAvEri – Kottavasal Venkatarama Iyer ( O )

02 vandisuvadalli gaNanAthA – nATa – Purandara Dasa ( A,S )

03 tera tIyada rAdA – gauLipant – Thyagaraja

04 Enu dhanyaLO lakumi – hindOLam – Purandara Dasa (A )

05 manavi nAlakinca rAdatE – naLinakAnti – Thyagaraja ( A,S )

06 sAmagAna vinOdini nin manamE – hamsAnandi – Lalita Dasar ( A,S )

07 guruvAyUrappanE abhayam – shankarAbharaNAm – Nadopasana Srinivasan ( A,N,S,T )

neraval & swara @ urugAdE manam?

08 paripAlaya paripAlaya  paripAlaya raghunAthA – rItigauLa – Thyagaraja

09 sAramaina – behAg – Swathi Thirunal ( A )

10 lOka bharitanO ranga – mAND? – Vadiraja Swamy

11 indina dinavE shubhadinavu – madhyamAvati – Guru Raghavendra Swamy

12 thillAna ( dhiraNA tanadhImta dhiraNA) – chenchurutti – Veena Seshanna

13 mangaLam – saurAStram – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya) – shrI

Sri TVG was awarded the prestigious ‘Sangitasurabhi’ award for 2016 today morning during the 23rd Annual Music Festival of Nadasurabhi. An award increases it value and credibility by the recipients of those awards. Nadasurabhi had been not only maintained the standard but by awarding this year award to another stalwart of Carnatic music, enhanced its reputation and value.

The award ceremony was crisp and brilliantly coordinated. I love the way Nadasurabhi conduct their annual festival. No dragging speeches, on stage review of concert, undue praising a mediocre performance as a concert of the century. This is the model other organisers to emulate. Mysore Subramnya spoke with elan as exepcted. TVG’s reply was short and sweet. Hence we had ample time for an almost full concert.

He started saying, as they  wished him 100 yrs of life, he is planning to sing a 100 min concert. But, the occasion grew on him and he sang for almost 2:15 hrs in the company of some of the best accompaniment one can ask for. The voice had the traces of aging. But the spirit and energy was undiminishing. Despite the difficulty to hold breath for very long duration ( I meant literally very long), he was at ease. The voice traversed all the octaves with considerable ease. The fast paced bhrigas and kalpana swaras were flowing at will. At 85, he seems to be brimming with exuberance and  confidence. Chatting with the team, responding to the listeners delightful reactions and lavishing praises on his co-players.

Concert itself was a tribute to his Guru and to Kannada. Looked like the decision of ragam and kritis were largely prompted by his supporting team ( mostly his daughter/desciple and Varadu). Nata made its third visit in last 36 hrs. Interestingly, it provided a new facets in each of the occasion. TVG sang few short nice raga alapanas from nata, hindolam, nalinakanti and hamsanandi. Selected interesting kritis for each, sang swaras for nata, nalinakanti as well as hamsanandi.

Shankarabharanam alapana was much more detailed. And he joined Varadarajan as he played some interesting phrases in his turn. Another new kriti for me as he decided to sing Nadopasana Srinivasan’s composition of Lord Guruvayurappan. An oneline, one repeat neraval and another short rounds of kalpana swaras made the whole affair short.  Otherwise, it would have been a grand affair. Ananthakrishna Sharma initially refused a tani, wanting the legend to continue, but TVG nudged him to play. The percussion duo played a nice tani avartanam.

Post main had one of my favourite ‘paripalaya paripalaya’, immortalised by MDR. Another beautiful behag alapana came soon. Varada ‘passed’ his turn,and he sang Swathi kriti. After singing ‘indina dinave shubhadinavu, he suddenly remembered the presence of Sri Subramanya, and sang the chenchurutti thillana of Veena Seshanna. Checked if it is ok to sing mangalam, and on confirmation concluded with ‘nI nAma rUpamulaku’ and a shlokam. Very good concert.

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Posted by on November 6, 2016 in Uncategorized


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Sanjay Subrahmanyan @ Nadasurabhi Annual Festival ,05 Nov 2016

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : Guruprasanna


01 ninnEkOri (varNAmm) – Ahiri – Tarangampadi Panchanada Iyer

02 swAminAtha paripAlayAshumAm – nATa – Dikshitar ( S )

03 inta kaNNAnandamEmi – bilahari – Thyagaraja ( A )

04 kallu sakkare koLLirO – kalyANi – Purandara Dasa ( A )

05 kaDaikkaN nOkki kAvAtadu – thODi – Papanasam Sivan ( N )

neraval @ ‘mayilApurikkiraivA, kayilAsuttuRaivOy, magimai kuRaindiDumO’

06 dAriNi telusukoNTi – sudhasAvEri – Thyagaraja ( S, T )

07 chEtA shrI bAlakrSNam – dvijAvanti – Dikshitar

08 RTP – SaNmukhapriya – tishra tripuTa ,  khaNDa naDai, samam eDuppu

Pallavi line :  sharavaNabhava ennum tirumandiram sadA japi yen nAvE, Om’

rAgamAlika swaras in sahAna, chalanATa? , bhAgEshrI

09 sharavaNabhavaennum tirumandiram – SaNmukhapriya- Papanasam Sivan

10 dAsara nindisa bEDa – rAgEshrI – Purandara Dasa

11 viruttam ( UrilEn kANiyillai?) – hamsAnandi

kaNNanai kANbadeppO – rAgamAlika (hamsAnandi,nAtakurinji,bhImpLAs,abhOgi) – Subramanya Bharati

12 nirupamAna sAmi ni – behAg – Ramanathapuram Srinivasa Iyengar

13 mangaLam – saurAStram – Thyagaraja

This man was in some form yesterday.  Voice is at the peak of its strength, which he used to its fullest capabilities, the atmosphere is charged with  overflowing audience, over enthusiastic percussion support ( to the level of distraction at times) and some very refreshing set of kritis. He started on the dot at 6:00 – one should give creditto the organisers for this, completing the formalities within the 5 mins window, and sang till 9:20-25. There was no gap between one kriti to other, as he seems to be eager to move to the next one. Only on a rare occasion, he gave a minute or two for Venkatesh to retune his instrument.

Yet another new varnam to the stage. Ahiri ata tala varnam was first time for me, and I guess to many of us in the audience. It is not about singing new varnam in every concert, it is also about which of those gems are worth bringing out to the forefront. He has been doing some wonderful stuff with that for a while now.

Yesterday’s nATa from Malladi Bros were very different, but for Sanjay it was the traditional fare. Even before the percussion conclude the varnam piece, Sanjay had taken off on ‘swAminAtha’. Elaborate swara was sung. But, did I hear he starting it at ‘ma,ga,ri’ ?

Bilahari alapana was short. I was expecting Vasudevacharya’s composition but he decided on a Thyagaraja composition. No neraval and swaras added. Similar was for the next kalyANi. However, despite my cold shoulder towards kalyANi, I thought the alapana was superb. The way he started it was one to cherish, shear beauty. I was hoping for some neraval here, but he wound it up soon. Papanasam Sivan’s thODi composition was again fabulous. The whole kriti was very nice and had one gem of a neraval followed. What a place to sing the neraval.

No traditional submain-main way of progressing the conert until now. He launched into the multiple sangati’s of darini telusukonti. A very very long rounds of kalpana swaras followed. Majestic stuff. I predicted he will hand over to Venkatesh and that is what he did. I am not a great fan of Venkatesh’s tani avartanam. He started it nice with some good left hand play, but soon returned back to his usual style. The crowd as usual seems to have been thrilled with his exploits.

To bring some balance to the whole concert, the pallavi has to be a major one. But before that, he sang a very melodious dwijavanti after a riotous, ear splitting percussion tani. It was very well sung. He did (mischievously) mimic Semmangudi as he concluded the piece. I was right with predicting shanmukhapriya as pallavi. What a classy alapana that followed by both Sanjay and Varadarajan. Sanjay, making use of the range had us mesmerised with some breathtaking higher octave passages and some ‘ati mandrasthayi’ sojourn. Haven’t seen him with such great voice condition for a while. Tanam is one of his strengths and last evening was no exception. No great invention of the pallavi line, but effectively set to tisra triputa in khanda nadai. The Om, was a bit stretched at times. Ragamalika swaras were sung as is wont, with the last bhAgEshrI taking up little longer. He did try some hindustni styled stretches of notes as he sang the bhageshri, and to a lesser effect by Varadarajan. Surprisingly, he did trikalam post the ragamalika swaras, and very detailed. I liked the way Neyveli Venkatesh supported here.  As expected, he switched back to adi talam and completed the Papanasam Sivan’s composition in shanmukhapriya.

A short viruttam, followed bby a ragamalika composition and  a devarnama concluded the concert. Another brilliant concert from Sanjay.


Posted by on November 6, 2016 in Uncategorized


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