Tag Archives: Sanjay Subrahmanyan

Sanjay Subrahmanyan @ Nadasurabhi Annual Festival, 01 Nov 2017

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira: G Guruprasanna


01 inta chAlamu sEyaka (varNam) – kAmbOji – aTa – Pallavi Gopala Iyer

02 kari kaLabhamukhAm – sAvEri – Eka? – Dikshitar ( S )

03 shrI pArvati paramAidvaita shivE – shrI – aTa – Kunrakudi Krishna Iyer

04 kaNDE kaNDE svAmiya bEDikoNDE – kannaDa – mishra chAp – Purandara Dasa ( A )

05 enta vEDukoNDu rAghavA – sarasvati manOhari – Adi – Thyagaraja ( N,S )

neraval & swara @ ‘cinta dIrcuTakenta mODirA antarAtma nA centarAka nEn-‘

06 tAyE ezhaipAl – bhairavi – Adi – Papanasam Sivan ( A,N,S,T )

neraval & swara @ eNNAda eNNamellAm eNNi eNNi eTTAda pErAsai kOTTai kaTTi’

07 Anandavalli – nIlAmbari – Adi x 2 – Swathi Thirunal

08 RTP – cHAyA ranjani – vilOma chApu x 4 repeats

pallavi line : ‘enkaL kulathinamudhE shrI rAmA tALElO’

rAgamAlika swaras in shankarAbharanam, aThANa, mukhAri, hamsAnandi

09 mannipugazh kOsalai tAn- rAgamAlila – rUpakam – Azhwar

10 ghaNTAmaNi ADudu – kAnaDa – Adi – Gopalakrishna Bharati

11 viruttam( vizhikku tuNAi) – ?,sahAna , behAg, jOnpuri

muruganai bhaji manamE – jOnpuri – Papanasam Sivan

12 mangaLam – saurAStram – Thyagaraja

Another one of his classic concerts. 3 hrs of high energy concert, never a lag, never a loss of focus or concentration. Variety of songs, another new varnam, a kannada kriti up front and a speciality pallavi. I guess, all that a listener wanted to absorb in a concert was there in its right proportion. Kudos to him.

One has to admire his professionalism. He was on stage at 5:55, allowing the organisers to finish the formalities of introductions. Concert started on time ( well, 6:05 ) and there was no break for next 3+ hrs.

Another not often heard varnam ( at least it was for the first time for me) , set the evening in motion. I heard a traces of Yadukulakamboji, caused some confusion on kAmbOji. But, Pallavi Gopala Iyers varnam was very good. A sudden burst of kari kalabha mukham came in , in the upper octave. He played around the same ‘ka(ga) ri’ in the kalpana swaras as well, singing ‘ga ri’ in three octaves and extending at kalabha mukham.  Made some good impression.

Another rare one followed. Kunrakudi Krishna Iyer’s composition in Shri, which started like shrI varalakshmi and had a lot of traces of pancharatna kriti, especially in the chitta swarams. First detailed alapana was in Kannada, both the artists playing it delectably well. As expected, a Purandara Dasa devarnama was sung. Enta vEdukondu had a similar high energy entry. He sang a classy neraval, toying with the words ‘enta dIrchina’ and few rounds of swaras.

Bhairavi alapana was grand. Through out the evening, I observed he was focusing his alapana largely on the upper register and the kritis in general was also picked in the same vein ( kari kaLabha, enta vEdukondu). Upacharamu jEsEvAr was playing in my min, but he decided to sing the Papanasam Sivan kriti. Another superb neraval at eNNAda eNNamellam. Some interesting laya intricacies during the kalpana swaras, which left the percussion team in somewhat disarray, while Varadarajan was in 100% adherence and support. He was in his usual best through out the evening. Tani avartanam was the Ctrl-C / Ctrl-V of a typical Neyveli Venkatesh affair. I find them so repetitive. Faster the finger moves, faster the shake of the head , louder the noise. However, yesterday he started with an entire avartanam only on the thoppi (left side) which produced a very similar sound of Ganjira. The audience definitely liked the affair as usual, evident from the applause they received.

It needed a sedate neelambari to cool things a bit before the start of pallavi. This time, he chose another new one chAyA ranjani. He explained this as a creation of GNB after being inspired by Bade Gulam Ali Khans ‘multani’. Alapana and tAnam were very good, as one would expect from Sanjay. Not sure from which text the pallavi text was adapted, but was nice. Trikalam was executed, so was multiple rounds of ragamalika swaras. There was a all Tamil post main kritis ( As some one joked post the concert, one doubt if it was ‘kannaDa rAjyOtsava’ or a Tamil Nadu one) before mangalam.


Posted by on November 2, 2017 in Uncategorized


Tags: , ,

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


Tags: ,

Sanjy Subrahmanyan @ Ganjaym Annual Festival ‘Flights of Fantasy’ 22nd Nov ’15

Vocal :  Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ghatam : Perikavu L Sudheer


01 sharaNAgata vatsala (varNam) – kadanakutUhalam – Calcutta Krishnamurthy

02 kari kaLabha mukham – sAvEri – Dikshitar

03 chalamElarA sAkEtarAma – mArgahindOLam – Thyagaraja ( S )

04  kaNDE kaNDE svAmiya bEDi koNDE – kannaDa – Purandara Dasa ( A,S )

05  marivErE dikkevarayya rAmA – Sanmukhapriya – Patnam Subramanya Iyer ( A,N )

neraval @ ‘ (venkaTEsha nIvu) nannu brOvakayuNDuta nyAyamA’

06  viruttam ( kulam tarum selvam ) – mOhanam

nArAyaNa divya nAmam – mOhanam – Papanasam Sivan

07  RTP – kharaharapriya – chaturashra tripuTa x 2 , +1 eDuppu

pallavi line ‘ oru taram shivachidambaram enru chonnAlum pOdumE’

tani Avartanam

08  viruttam ( ADum mayilAy) – behAg

karpakAmbikai nI allavO – behAg – Papanasam Sivan

09  uyyAla lOkavayya – nIlAmbari – Thyagaraja

09 thillAna ( nAdru dhIm tanana tana dhiraNA) – gambhIravANi – T K Govinda Rao

10 mangaLam – saurAshtram – Thyagaraja

Certain concert, you shouldn’t waste your time in dissecting and picking your choices of alapana, tanam or swaraprasthana.  They are wholesomely good in few cases or every thing was good as in the case yesterday. One is left wanting for the choice of adjectives. I for one, think yesterday’s concert was one helluva affair.

But I still want to talk about a few for posterity. Its always good to go back to some of your concert experiences after a few years. This will be one such concert and hence for my own future use let me note a few.

The whole lift of the concert to me started with the swara prasthana of margahindolam. Outstanding stuff here between the lead singer and the ever following violinist. The long phrased, long lasted ending swaraprasthana was a treat, embellished by an equally awe inspiring return by Varadarajan. On the other hand, this increased the adrenaline levels of the percussionist , especially Venkatesh, and there was no holding him back after that. More on that later.

A short and beautiful ‘kannaDa’ alapana and a surprise selection of kriti was next. Probably a new addition to Sanjay’s repertoire and this could feature in a few concert this season.  Another rounds of great swaras mostly pivoting around the ‘ri’  ( in fact he started the swaras at ‘ri’ kande kande ).  Percussion by now was in exhilaration and Venkatesh was changing the mrudangam for every song.

Shanmukhapriya which followed next was the best of the evening and one of the best I’ve heard in many years. I dont remember listening to Sanjay singing shanmukhapriya any time in last 4-5  years. What scintillating alapana he sang and an equally grand return on violin.  If this is not enough, there was an outstanding neraval too.  Instead of the standard  ‘sannutAnga shrI venkatEsha nIvu’ , he selected the next line ‘nannu brOvakayuNDuta nyAyamA’ adding ‘venkatEsha nIvu’ at the beginning. Tremendous impact. Very well done and detailed. Goose pimples ( I’m a sucker for grand neravals). There was no swaras. Nice viruttam in mOhana on ‘nArAyaNa’ on the EkAdashi day, before ‘nArAyaNa divyanAmam’ was apt and nice.

Kharaharapriya was the main. Majestic alapana fitting to the occasion. Largely the standard phrases with some classy ‘akaara’ extentions typical of him.  Similar pattern and exploration from Varadarajan who seems to have taken a bit longer than usual. No complaints.  For once, I thought ‘rAmA nI samanamevaru’ is in the offing, probably the alapana was directing me towards that. He started tanam, which was again was the next peak of the evening. Brilliant. Pallavi was in usual Aditalam with a familair pallavi line. He did a detailed pallavi neraval, and there was no trikalam in the typical sense. He then launched into an elaborate swaraprsthana in two speeds as in the case of the main item. There was no ragamalika swaras which was obvious by now.

By now the percussion was unbearable to the ears. Tani Avartanam was extremely loud and was the typical ‘beat the s..t out’ of the mrudangam style by Venkatesh with matching head movement to the fingers. Unlike me the audience seems to have liked the ‘visual treat’ if not the nadam. Perikavu L Sudheer,  seeing him for the first time in Bangalore, probably was shaken to the roots by this exuberance was overwhelmed and did not attempt to match the leader. He succumbed after few strokes and returned it back to the main percussionist. Luckily, the whole tani avartanam lasted 7-8 minutes.

Another viruttam and a kriti from Papanasam Sivan in behag came post main, which otherwise had a neelambari kriti and gambheeravani thillana.

Apart from the top class concert presentation, I was also impressed with his selection of kritis today. The two viruttam’s that he sang and the kind of mix he provided. This will remain in memory for a long long time for sure.


Posted by on November 23, 2015 in Uncategorized


Tags: ,

Sanjay Subrahmanyan, Nadasurabhi Annual Music Festival 3rd Nov,2015

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : Alathur RajaGanesh


01.  sAmi ni rammanavE (varNam) – kEdAram – Thiruvottiyur Thyagayya

02.  ninnu jUci – saurAshtrAm – Patnam Subramanya Iyer ( S )

03. parAtpara paramEshwara – vAcaspati – Papanasam Sivan

04. parama krpA sAgari – yadukulakAmbOji – GNB  ( A,N,S )

neraval & swara @ ‘sakala vEdAgama sArE sAdhuhrdaya vihArE ‘

05.  upachAramulanu chEkOnavayya – bhairavi – Thyagaraja  ( A,N,S,T)

neraval & swara @’kapaTa nATaka sUtradhArivai’

06.  santAnagOpAla krSNam – khamAs – Dikshitar

07. RTP – nAgasvarALi  – mishra naDai x 5 avartanam to complete the pallavi line +1 eduppu

pallavi line : shivachidambaramE darisikka manamE , janam illai idu nijamE

swaras in nagaswarali and shrutibhedam to hamsadhwani

08 shiva chidambaramE darisikka – nAgasvarALi – Papavinasa Mudaliar ??

09. nAmasudhArasam – kApi – Swathi Thirunal

10.  viruttam ( vizhikku tuNai ) – mOhanam , jOnpuri

mUvAsai kOpam ( tirupugazh) – jOnpuri

11.  mangaLam – saurAshtram – Thyagaraja

The inaugural  concert of the Nadasurabhi Annual Festival started with a bang. Another brilliant concert yesterday by Sanjay. The large audience, braving the rain and traffic,witnessed to some outstanding music in the evening. Started 20-25 mins post 6:00 pm after the short inaugural function, the artists quickly started the proceedings with a kEdAram varnam. The following saurashtram kriti of Patnam Subramanya Iyer came with some nice rounds of swaras finishing it with a long moving phrases. Quick paratpara in vachaspati came in soon. No alapana until now.

Yadukula kambojialapana was the first to come. Some of the slow , melodious early phrases were extremely pleasing. The only sour points in the concert was the tu,tu,tu towards the end. I am not sure what is so appealing in this. Varadarajan’s return was chaste. GNB’s kriti is a welcome change. I’ve heard this a couple of times from Ranganatha Sharma. Neraval and swara were very impressive too.

Bhairavi was the main and what a treat, every instance was cherishable. Again, the early alapana were tremendous, some exquisite phrases, very ‘teasingly’ brilliant stretches, nice pauses. Soon the alapana moved to the upper octave and was lingered around there for the rest of the time. Top class stuff. Varadarajan was measured to the lead singer in his turn, mostly playing around the same theme. From the way the alapana was evolving, we could predict the kriti that was to follow and upacharamulanu it was. Awesome it was.  The kriti, the fabulous neraval he did especially around the words ‘nAtaka sUtradhAra’, and an outstanding kalpana swaras. Some of the laya intricacies or complexities that he exhibited and executed was shear class. I think he also tried ‘sankernam’ apart from tisram, khandam and misram during some of the swara phrases. Varadarajan was impeccably followed each of these sojourns and to alesser extend by the percussion team. Venkatesh and Rajaganesh played out a good tani avartanam.

After a short khamas, he started the nagaswarali alapana. A rather shortish alapana had a clever shrutibhedam to hamsadhwani , raising hopes for a replay of the famous Balamuralikrishna ‘shrutibhedam’ pallavi in nagaswarali + hamsadhwani. Varadarajan in his turn did exactly the same, but was more explicit with hamsadhwani, playing a short phrase from vAtApi ganapatim. This is the first time, I see Sanjay doing a shruti bhedam. There was no hamsadhwani alapana as he started tanam. As expected from him, it was elaborate and very well done. Pallavi, if I am not mistaken, taken from the pallavi line of the nagaswarali kriti ( probably written by Papavinasa Mudaliar). Pallavi was again awesome, with him doing trikalam in typical two speed variation and ’tisram’ ( looks like tisram in mishra gati ) with the rest of them supporting him aptly. Varadarajan again was superb here. Swaras that followed was again very good. There was no ragamalika swaras but he did a similar swarabhedam to hamsadhwani as he did in the alapana. Brilliant stuff.

Concert concluded soon with a Swhathi kriti in kApi,again not often heard, and a short viruttam followed by thirupugazh. There was a short piece of paper handed over to  Sanjay, which now I guess was the message to wind up and not a song request.

Edit :  I stand corrected. It was a listeners request, and Sanjay did not seems to have yielded to that request.

Very very good concert. Both the bhairavi and the nagaswarali pallavi will be in memory for a long time. Good start to the week long festival.

Please also read an account of the same concert by Sri Mohan here :

Leave a comment

Posted by on November 4, 2015 in Uncategorized


Tags: ,

Sanjay Subrahmanyan @ R T Nagar Cultural Association 26th Sep,2015

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Arjun Ganesh


01.  nI inta mAyam (varNam) – dhanyAsi – Papanasam Sivan

02.  jnAna mosaga rAdA – pUrvikalyANi – Thyagaraja ( S )

03.  parvata rAjakumAri shrI pArvati pAhimAm – shrI ranjani – Deekshitar  ( A )

04.  jAlamEla raghupatE shrIpatE – sEnAvati – Balamuralikrishna ( A,S )

05.  shrI chAmuNDEshvari pAlayamAm – bilahari – Mysore Vasudevachar ( A,N,S,T )

niraval & svara @ ‘rAkA nishAkara sannibha vadanE rAjIva lOcanE’

06.  palukutE nelatalli – AbhEri/karNATaka dEvagAndhAri – Annamacharya  ( O )

07.  ArO ivar ArO – bhairavi – Arunachala Kavi

08.  RTP – bEgaDa – chaturashra triputa x 2 , starting at +2

pallavi line ‘ oru taram shivachidambaram enru uraitAlum pOdumE’

rAgamAlika svaras in kuntaLavarALi, vasanta, AbhOgi, sindhubhairavi

09.  harivAsarada upavAsada – sindhubhairavi – Purandara Dasa

10.  tumbam nErkayil – dEsh – Bharatidasan

11.  thillAna ( nAdru dhIm tanana tana dhiraNA) – gambhIravANi – T K Govinda Rao

12.  viruttam + mAlAsai kOpam ( tirupugazh) – jOnpuri – Arunagirinathan

13.  mangaLam – saurAshtram – Thyagaraja

Wonderful evening it was. A phenomenal concert exploding on one side and Arsenal thrashing Leicester 5-2 on the other ( City and Chelsea dropping points to add to the good day).

Having left the Venugopala swamy temple with an incomplete feeling, this concert compensated for all that was missing there. Some exquisite selection of ragam and kritis today. Four classy alapana, an outstanding neraval for bilahari. Brilliant svarakalpana for purvikalyani, bilahari and sindhubhairavi (during pallavi). Wholesome affair closing precisely at 9:30 pm.

As the concert scene in general has been improved considerably in Bangalore over last 5-6 years, it is time to look at improving the other aspects of the concerts like hall, ambient,organisation, discipline , acoustic etc. One of the other frustrating aspect is the never ending, impromptu felicitation functions, keeping the artists seated on stage. PRobably they could have done this before summoning the artists on to the stage. We also had the photographer giving scant respect to the artists and the audience walking all over the stage taking pictures while the concert was on ( of course, with his rear side blocking the view).

All that aside, Sanjay gave a stupendous concert starting with a dhanyasi varnam, not heard often. Purvikalyani – though I hoped for a niraval at paramatmudu , which did not come – had set the whole tempo of the evening with some superbly rendered kalpana svarams. Young mrudamgam artist, seeing him for the first time with Sanjay, did come into action here which he maintained through out the evening, except during the bilahari swaras. Sriranjani alapana was crisp and the choice of kriti was again very interesting.

As he started the next alapana, I was looking at Venky indicating 2,5 or 6, indicating ratnangi, manavati or tanarupi. He soon came to our rescue with the name, which was the 7th Melakarta , sEnAvati. Varadarajan’s return was equally brilliant. Kriti with chittaswaram build in had BMK written all over it.

Bilahari alapana was one of the best I’ve heard in the recent past. From the slow , short melodious phrases of bilahari, he progressed towards higher octave fast longish phrases, having many long breathed holding or hanging on a single note. The audience seems to like this a lot and this is something Sanjay mastered and have deployed in many concerts. He did this at least 4 times during the concert, each time received well within the hall. The whole alapana was grand, so was the return. Varadarajan was in his sublime form through out, reproducing each time with his brilliant touch. I was almost sure of the kriti, and wasn’t surprised when he started Shri chamundeswari.  He sang an outstanding niraval today. Last few times I heard him sing this kriti did not have an elaborated niraval. But yesterday was special. Some close mouthed humming did create some impact, but I am not a great fan of those gimmicks. Kalpana swaras were again fabulous. Some of the intrinsic laya oriented patterns were very impressive, but found the percussionist struggling to stay afloat. However, he gained the lost ground with an impressive tani avartanam, receiving wholehearted appreciation from all.

There was some confusion here with the organisers wanting to do their garland and honour, but he indicated that he is going to sing  a pallavi and it can wait until then. As he started singing short abheri sketch, I was prepared for an abheri pallavi. But we had to wait for an Annamayya kriti and a bhairavi piece. Aro Ivar Aro is a favorite, especially the briga laden sangatis around ‘chandra bimba mukha malarale’ part. He started the kriti from anupallavi and cleverly brought back to the pallavi line.

Begada alapana again was master class. Many impressive low octave sancharas and a few highend scaling to upper panchamam with many typical begada phrases. Tanam was very good too. Pallavi, a ‘steal’ from the abhogi kriti was done without trikalam and was in standad adi talam. Kalpana swaras were noted for an outstanding sindhubhairavi swaras from where he continued to sing a devarnama in the same raga to conclude.

Post felicitation was short with a desh kriti and TKGs thillana in gambhiravani and a tirupugazh. He sang a short viruttam before the tirupugazh. Of late, he sings less and less viruttams as I see. He concluded the concert exactly at 9:30.

A brilliant concert, it was.

Leave a comment

Posted by on September 27, 2015 in Uncategorized


Tags: ,