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Sumitra Nitin @ Ranjani Fine Arts, 26th Nov 2017

Vocal : Sumitra Nitin

Violin : Sowmya Ramachandran

Mrudangam : R S R Srikanth

Ganjira : Kiran Kumar

Theme : Triveni, Shyama Shastry compositions

List:

01 mAyamma yani nE – Ahiri – Adi x 2 – Shyama Shasthry

02 parAkELa nannu paripAlimpa – kEdAragauLa – Adi – Shyama Shasthry ( A,S )

03 pAravti ninnu nE – kalgaDa – Adi tisra nadai – Shyama Shasthry ( A )

04 ninnE nammi nAnu – thODi – mishra Chap – Shyama Shasthry ( A,N,S,T )

neraval & swara @ kAmAkSi kancadalAyadAkSi’

05 kAmAkSi lOkasAkSiNi – madhyamAvati – Trishra triputa – Shyama Shasthry

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Posted by on November 27, 2017 in Uncategorized

 

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Priyashri Rao @ Ranjani Fine Arts , 26th Nov 2017

Vocal : Priyashri Rao

Violin : Sowmya Ramachandran

Mrudangam : R S R Srikanth

Ganjira : Kiran Kumar

Theme : Triveni, Compositions of Muthuswami Dikshitar , 1hr Concert

List:

01 shrI nAtHAdi guruguhO – mAyAmALavagauLa – Adi – Dikshitar ( S )

02 chandrashEkharam sadA bhajEham – mArgahindOLam – Adi – Dikshitar

03 SaDAnanE sakalam arpayAmi – khamAs – Adi – Dikshitar ( A )

04 mAmava paTTAbhirAma – maNirang – mishra ChAp – Dikshitar

05 mInAkSi mEmudam dEhi – gamakakriya/pUrvikalyANi – Adi x 2 – Dikshitar ( A,N,S,T )

neraval & swara @ ‘madhurApuri nilayE maNivalayE ‘

 

 
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Posted by on November 27, 2017 in Uncategorized

 

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Chithra Srikanth @ Ranjani Fine Arts , 26 Nov 2017

Vocal : Chithra Srikanth

Violin : Sowmya Ramachandran

Mrudangam : R S R Srikanth

Ganjira : Kiran Kumar

Theme : Triveni, Compositions of Thyagaraja , 1hr Concert

01. shrI gaNapatini – saurAStram – Adi – Thyagaraja

02. rAju veDala – thODi – Roopakam – Thyagaraja ( A,S )

03. rAma rAma nI varamu – Anandabhairavi – Adi – Thyagaraja

04. nAradamuni veDalina – pantuvarALi – Adi , tishra gati – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘nArAyaNa nAmamulanu pArAyaNa moralincucu’

05. daNDamu bettEnurA – balahamsa – Adi – Thyagaraja

 

 
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Posted by on November 27, 2017 in Uncategorized

 

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Amrutha Venkatesh @ Ranjani Fine Arts, 12th March 2017

Vocal  : Amrutha Venkatesh

Violin : B K Raghu

Mrudangam :  B S Prashanth

List :

01.  karuNimpa ( varNam) – sahAna – Thiruvottiyur Thyagayya

02.  shambh) mahAdEva – pantuvarALi – Thyagaraja ( A,N,S )

neraval & swara @ ‘ shambhO mahAdEva sharaNAgata janarakSaka ‘

03.  nagumOmu galanEni – AbhEri – Thyagaraja

04.  bArayya venkaTaramaNa – sAvEri – Thyagaraja ( A )

05.  mAyamma shubhamimma – ranjani – M D Ramanathan ( A,S )

06.  riNa madanuta paripAlaya mAmayi – behAg – Swathi Thirunal

07.  kaligiyuNTe gada –  kIravANi – Thyagaraja ( A,S,T )

08.  ugabhOga ( ninnanE pADuvE ninnanE pogaLuvE ) – hamIrkalyANi

smarisO sarvadA hariya – hamIr kalyANi – Purandara Dasa

09. Aj AyE shyAm mOhan – mishra pahADi – Swathi Thirunal

10.  eppO varuvArO – jOnpuri – Gopalakrishna Bharathi

11.  tillAna ( dhIm nanana tittillAna tillAna) – brindAvani – Balamuralikrishna

12. mangaLAm – saurAshtram – Thyagaraja

One of the important ingredient of any successful concert is the balance of the team. If that is set right, the concert will be one to cherish. Last evening’s concert at Ranjani Fine Arts was one such. There are many other aspect which made this concert a beautiful one, but the teaming definitely helped the cause. Amrutha was at her usual best. Very intelligent, clever and articulate in presenting a brilliant concert. But the supporting crew in Raghu and Prashanth, the concert rose to something special. Raghu, despite a personal loss, accepted the concert and played some delectable violin. His alapana for pantuvarali, ranjani and keeravani were top class and gave many aha moments. Prashanth, whom I first saw accompanying TNS at Sanjay Nagar, 5-6 years ago, has grown multi fold in his stature over the years.

Apart from a rare, interesting ranjani piece of MDR the overall concert was did not have any novelty factor. To my dismay ( not picking a defect here), there was only one neraval in the entire concert. Despite all this, the concert was of a very high standard. Her sahana varnam itself was brilliant with some very innovative takes and improvisations. Fabulous alapana for pantuvarali, largely on longer bhriga based phrases. Nice neraval ( singing neraval at the pallavi line – is this a new trend ?)  and some awe inspiring swaras to end, aptly supported by Raghu. A short saveri alapana did not really make an impact. But the “Dasara pada” was quite nice.

A brilliant ranjani alapana, mostly build through short nice phrases lifted it up again. Am I the only one noticing some Sanjay traces in her singing alapana ( the quick takes , even the facial gestures at times). Raghu was even better. Expected the GNB composition to follow, but she announced the MDR composition, which was a pleasant surprise. The swaras were impressive too, anchoring around ‘sa ri ga’ for a long time. Keeravani main, with a very refreshing alapana.  So much so that, for a moment I thought if it was ‘gowrimanohari’. Most of the alapana’s we here for keeravani are the same stale often chewed cud. This was indeed very different. Kaligiyunte was no surprise, what was surprising was her decision to skip neraval. There was elaborate swaras befitting the main. Prashanth, played a good tani avartanam, extending his good form through out the evening.

Post main is noted for the ugabhoga+devarnama in hamirkalyani and the mishrapahadi bhajan of Swathi Thirunal, set to tune by Sri Balamuralikrishna. The thillana and the jonpuri piece were ok. I haven’t been attending many concerts since the start of the new year, but this one was worth the time spent. Very well delivered concert.

 
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Posted by on March 13, 2017 in Uncategorized

 

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TNS Krishna @ Ranjani Fine Arts, 10 Sep2016

Vocal : TNS Krishna

Violin : Nishant Chandran

Mrudangam : K P Parameswaran

List :

01 girirAja sutA tanaya – bangALA – Thyagaraja ( O,S )

02 muNDu vENuka – darbAr – Thyagaraja ( O )

03 shiva shiva shiva enarAdA – pantuvarALi – Thyagaraja ( A,N,S )

neraval & Swara @ ‘Agamamula nutiyinci bahu bagulEni bhAsalu cAlinci’

04 shLOkam ( apadamapa hataram tadaram) – khamAs

sujana jIvana – khamAs – Thyagaraja

05 marukElarA – jayantashrI – Thyagaraja ( A,S )

06 sAvEri rAgAlApana

shLOkam ( ambA sAmbhavi chandramauli ) – sAvEri

kanna talli nIvu – sAvEri – Thyagaraja ( A,N,S,T )

neraval & swara @ ‘anudinamonarincu satkriyAla nIkani palkina tyAgarAja rakSaki’

ragamalika swaras in nAta, Arabhi,varALi,bahudhAri,hamsadhwani,rEvti,bilahari, kuntaLavarALi, kadanakutUhalam, dEsh, bEgaDa, ____, nIlAmbari,______, malayamArutam, ranjani,_____, pUrvikalyANi, shrI, sAvEri

07 durmArgacharA – ranjani – Thyagaraja ( O )

08 ennagA manasuku rAni – nIlAmbari – Thyagaraja

09 viruttam (nanmayum selvamum) – hamsAnandi

shObhanE (started at anupallavi) – hamsAnandi – Thyagaraja

10 nagumOmu galavAni – madhyamAvati – Thyagaraja

11 pAhi kalyAna rAma – kApi – Thyagaraja

12 mangaLam ( nI nAma rUpamulaku) – saurAStram – Thyagaraja

What a fabulous concert. Stupendous performance by the young vidwan last evening at the Ranjani Fine Arts. Well,he did have few low points but I am willing to overlook all that for the way he sang the saveri, pantuvarali and jayanthashree. They were top class and will make his guru proud.

To me the real explosion, if I may  use that word, started with the pantuvarali alapana. So much packed in that one. Some brilliant sojourn at the higher octave, the build up with which he progressed to the tarasthayi passages ( very typical of TNS himself), makes one to applause with out selfawareness. Many ‘aha’ moments. Brilliant wound up and conclusion. Breath taking neraval. K P Parameswaran made his presence felt with that one act of excellence at the beginning of the neraval. Equally strong kalpana swaras.

Jayanthashree alapana was a surprise. Not heard many attempting, the closeness to hindolam is evident. Interestingly Nishant Chandran did not play a return alapana here. Marukelara was not uncommon. And many sing swaras too.

Saveri alapana again was classy. Again I am impressed with the way he plan and execute the alapana. Nice mix of early short phrase, steady increase to some beautifully conceived long akara phrases, some impressive higher octave sancharas, some of the typical TNS style ‘up-down’ movements ( with a similar hand gesture) etc were pleasure to watch and listen. There was a couple of very innovative phrases too. Nishant Chandran played a commendable alapana in his turn. He was largely subdued and mantled the role of a supporting artist through out. As K P Parameswaran set to tune the mrudangam, Krishna started of with a nice shlokam from ‘Rajarajeshwari Ashtakam’.  I personally like when a kriti is preceded with a shlokam, after the alapana. Now the indication are clear that the kriti is going to be one on ‘Devi’. Tulasi Jagajjanani or dEvi pAvanE were my choices. He again surprised us with singing another very rarely heard kriti of Thyagaraja’s Tiruvotriyur Pancaratna. I heard this only from his father in one of the AIR program. Neraval was again very very good , with a long neraval line to my liking. Very trademark TNS school swara prasthana befitting the main. Some  of the intricate swara patterns were probably a bit complicated but the percussion support was awesome here, while violin might have found it too hard to mettle.  He did not stop there. Added a garland of fast swaras in a bunch of varying ragas, some of them went in a flash even before my poor brain to decipher.

K P Parameswaran, one of the prime disciples of T K Murthy is not featured in Bangalore much. I am seeing him for the first time and what an impression he made last evening. His tani avartanam too was notable for the way it was presented. Very measured and structured, not trying to make the repeated sarvalaghu patterns to fill, not stretching beyond what is needed,  yet making an impact. Good job overall.

Concert started with the bangala kriti and a darbar kriti following immediately. Darbar definitely wasn’t good to me. I thought it was too fast and a bit uneven in the kalapramanam. The overall concert in general as a notch faster than usual. But despite all that, he did a tremendous job. The way he mixed kritis, alapana, shlokams and viuttams, his command over laya evident in the neraval and kalpana swaras were impressive. If one closes the eyes and listens to him, one want blame for seeing the images of the senior in front of you.

An all Thyagaraja affair. Apparently, this being the 250th birth year of the Composer, organisers decided to pay homage to the Vaggeyakara. The above list is a result of the same. The post main too , barring a Tamil viruttam, adhered to the theme, with some nice picks.

I thoroughly enjoyed the concert and will make a point to attend his future concerts in Bangalore.

 
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Posted by on September 11, 2016 in Uncategorized

 

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