Musicians,events,anecdotes and tid-bits

Sudha Ragunathan

Stress on sahitya

SVK

Sudha Ragunathan’s music was enjoyable, but the bhakti element was missing.

Photo: S. Thanthoni

ORNATE IN ESSENCE: Sudha Ragunathan.

Gopalakrishna Bharati is a composer whose kirtanas are at their best when the intense bhakti contained in them get their deserved treatment at the hands of performers.

Sudha Ragunathan, who sang after a function organised by the Festival Committee in association with Maadhyama Dharma Samajam, could not bring such a devout mind to the rendering of the kirtanas. For, Sudha’s briga bhani hardly reflected the subtle inter-relationship between emotion and sangita.

To the audience in general, her music was pleasurable but did not convey Gopalkrishna Bharathi’s yearning for Thillai. The sahityas were there, but not the serenity. In fact, such music of great composers has to be felt and not thought out. It is not enough if music is based merely on sapta swaras, but has to be on contemplative experience.

If this aspect was set aside, Sudha’s performance revealed enormous creativity loud and clear. Technical competence took care of expansiveness. Her objective in interpreting songs was to be emphatic even at the cost of daintiness. Exuberance of sangatis, startling expressions and vocal amplitude were the characteristic features. Being Tamil songs, the concert ought to have been a journey along their devotional contents making them transparent to Gopalakrishna Bharati’s bhakti.

Sudha’s Poorvikalyani raga sancharas were meticulously chiselled. Soaring manodharma covered the several shades of the raga’s terrain. Her’s was a continuous alapana process from the manobhava sthayi to the tarasthayi panchamam, at each level accurate.
Studded with swaras

The kirtana was ‘Thillai Chidambaram’. Sudha studded the song with a volume of swaras and sangatis. Her method of handling kirtanas was conducive to endowing impressiveness, ornate in essence. When at the beginning, she took up ‘Sivaloka Naathanai” (Mayamalavagowla), the mind switched back to the glorious way Dandapani Desikar sang in the film ‘Nandanar.’ That still remains an acme of serene singing. ‘Kanaka Sabhapatikku’ (Atana) and ‘Chidambaram Endrorudaram’ (Begada) were the other items.

The mridangist Neyveli Skandasubramaniam was quick to take advantage of the vocalist’s musical ways. His accompanying style was fanciful in design and dexterous in display.

His percussion partner was Gopalakrishnan (ganjira).

The violinist Raghavendra Rao was effective in his solo versions emphasising beauty in brevity.

http://www.hindu.com/fr/2009/03/20/s...2051300300.htm
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Nithyasree

An evening of melody

Nithyasree Mahadevan will enthral music lovers with a selection of raga-based film songs in an event titled ‘Vellithirai Ragangal’ on April 5, at Kamarajar Hall, Teynampet.

Organised by Abbas Cultural, the singer will be have orchestral support from Ganesh-Kirupa Orchestra.

Nithyasree will presents old Carnatic-based numbers such as ‘Mannavan Vandaanadi’ (Kalyani), ‘Pazham Neeappa’ (Shanmukhapriya), ‘Anandha Ragam’ (Simhendra Madhyamam) and ‘Om Nama Shivaya’ (Hindolam).

She will also perform her own hits such as ‘Minsara Kanna’ and ‘Kannodu Kaanbathellam’.

Her co-singers for the evening are Kovai Murali, Ananthu, Lavanya Sundararaman (Nithyasree’s disciple and niece) and Anusha Karthick and others.

The programme is dedicated to the memory of V. Jayaraman, secretary, ABBAS, who passed away recently.

http://www.hindu.com/fr/2009/03/20/s...2051310300.htm

SPB, naturally

The singer reveals little known things about himself

On a high note S.P. Balasubramanium

S.P. Balasubramaniam looked a bit groggy as he stepped out of an early morning flight in Kochi. But, after getting into the car, he got to do something he loves to - talk. As he once said, he loved talking and making friends, for he did not "want to turn into an island".

"The flight was okay. For me business or any other class is all about the size of the seat," he laughs. "Very often I ask them to give me the adjacent seat, if it is free." Has he always been like `this'? "No. As a child I was skinny, almost malnourished. Putting on weight was because of the lifestyle - not eating on time and junk food, perhaps."

But a `pucca' vegetarian and junk food? "Anything not cooked at home is junk food to me. In Chennai and Hyderabad, I get homecooked food. But in Bangalore and other places, it is hotel food - the same rotis, curries and all. I stick to one hotel wherever I go; at least you have the regular, familiar, junk food."

"I remember Naushad saab telling me about Mohammed Rafi saab. The singer once complained of pain in the knees. Naushad saab asked him to cut down on his weight, and try exercises such as playing badminton regularly. In fact, I remember how meticulous Naushad saab was with his daily walk - even when he was well past eighty." Does he try some sort of workout? "No. I have never tried anything. Call it sheer laziness. I used to be quite agile, despite the weight, but of late I become breathless when I take a flight of steps. I think I must get working on my fitness."

Rafi saab

"I met Rafi saab only once. It was at Prasad Studio where he was recording, and I was there too. I was recording for Ilaiyaraaja, and as soon as I completed a song, ran to where Rafi saab was. They were having a break. I rushed in, touched his feet and literally ran back. I was told Rafi saab had asked who that young man was. That was the only meeting with the great man."

Among his many `avatars' one that is quite surprising is that of a dubbing artiste. And like everything else, SPB has plunged into it with unbridled enthusiasm. A clear voice, excellent diction and his uncanny ability to empathise with the character for which he lends his voice, SPB is now a much soughtafter dubbing artiste in Telugu.

Dubbing

"It is great fun, and I enjoy it. I don't do anything that I don't like. Dubbing happened by chance. You could say I was trapped. The puja for the film `Manmadha Leelalu' was on, and I went there. Even before this, the people involved in the film had sounded me on this possibility, but I had politely refused asking them to give me songs instead.

"At the puja, they were running a scene, and asked me to read out a dialogue, which I did. At the end of it, the people around clapped, and said my voice was recorded. They also told me that I could not go back now, and had to do the whole film. Gradually, I began enjoying this."

SPB has been the Telugu voice for Kamal Hassan, with `Dasavatharam' being the biggest challenge. "Except for the three characters that speak English, I dubbed for the rest, including the female voice. I have often asked Kamal why he does not go with his voice for the dubbed versions when he does it for the original Telugu films. His reply was, why should he do it when I was there."

SPB has dubbed for stars such as Mohanlal, Bhagyaraj, Salman Khan, Gemini Ganesan, Nagesh, Nagarjuna, Girish Karnad, and Ben Kingsley (in the dubbed version of "Gandhi"). "I just did the dubbing for Anil Kapoor in `Slumdog Millionaire' (Tamil)."

The car draws up the porch of a heritage hotel. Stepping in, SPB stands in awe of the sea, a stone's throw from his balcony.

"This is wonderful. I would now simply relax here listening to Naushad saab's classic `Kal raat zindagi.' I don't know how many times I must listen to it to sing it anywhere close to the way Rafi saab has."

http://www.hindu.com/mp/2009/03/25/s...2550310600.htm

1. It rained thumris and taans
HINDUSTANI Shehnai maestro Pandit Krishna Ram Choudhary and sitar player Irshad Khan played with effortless ease at the Gharana Music festival. Gowri Ramnarayan

http://www.hindu.com/fr/2009/03/27/s...2751330300.htm

2. That special touch
IMPRESSION Sudha Ragunathan’s concerts, dedicated to RRC, are always memorable.

http://www.hindu.com/fr/2009/03/27/s...2751370300.htm

3. Reign of ragas
Hindustani Mala Ramadorai’s exercises were delicately feminine and artistically structured making the listening ethereal.

http://www.hindu.com/fr/2009/03/27/s...2751430400.htm


4. Rendered with finesse
The concerts of Varalakshmi and Bangalore Shankar were enjoyable.

http://www.hindu.com/fr/2009/03/27/s...2750690300.htm

Graceful notes
Little Ananya's dance showed high level of involvement and Ravishankar Mishra's recital had an alluring simplicity
http://www.hindu.com/fr/2009/03/27/s...2750950300.htm

1. Mozart and more
The Madras Chamber Orchestra is back with a
concert

http://www.hindu.com/mp/2009/03/31/s...3150050100.htm

2. Global local
Lakme Fashion Week’s grand finale today will feature the works of Anamika Khanna

http://www.hindu.com/mp/2009/03/31/s...3150020100.htm

3. A different tune
Audio of “Alaiyodu Vilaiyadu” was released

http://www.hindu.com/mp/2009/03/31/s...3150080300.htm

4. Prints charming
Of saris in block prints

http://www.hindu.com/mp/2009/03/31/s...3150310600.htm

T.M. Krishna, Bombay Jayashri, Priyadarshini Govind and Leela Samson created an unforgettable experience.



A moment to cherish T.M. Krishna, Bombay Jayashri, Priyadarshini Govind and Leela Samson during the performance.

Samyukta, the creative collaboration envisioned by Seher, featuring Carnatic musical giants T.M. Krishna and Bombay Jayashri interacting with two of the top names in Bharatanatyam, Priyadarshini Govind and Leela Samson, was what dreams are made of. Not since Hafiz Ali Khan and the Dagar Bandhu provided music for the Kathak Kendra’s productions over half a century ago, or Ravi Shankar and Timir Baran’s music for Uday Shankar’s ballets, have musical greats participated in live dance performances. One lauds the open-mindedness and innovative zeal of the two musicians by agreeing to ‘call the tune’ for dance.

An overflowing audience at the India International Centre fountain lawns watched the innovative Krishna/Priyadarshini interaction which accommodated compositional integrity with creative improvisational flourishes, with the more structured dance construct and the freewheeling music aspirations finding space. The mallari start visualised a temple procession within the Tiruvalur temple complex, the interspersed dedicatory Sanskrit passages (composed by violinist Ramkumar), having Tyagesha the main deity, offering homage at the shrines of Vallabha Ganapati, Achaleswarar, Durga, Kamalamba and Neelotpalamba, and Nandikeswarar, the varied pacing of the sequences indicating the location of the procession.

The piece-de-resistance was the Shankarabharanam ragam-taanam-pallavi, the crisp raga alap by Krishna and Ramkumar (violinist) followed by the impromptu ecstasy of the taanam, Krishna’s forte, the dance after each sequence exuberantly visualising a jati each of three, four, five, seven and nine syllabic permutations highlighted through Balakrishnan’s excellent nattuvangam with Vijayaraghavan’s mridangam.

The pallavi line composed by Ramkumar “Sri Krishnapaatuyushmaan kamaneeyavatara” became an elaborative music/dance treat. “Malleshailendra Kalpaha” inspired by the Krishnakarnamritam episode of how the assembled elders, maidens, Kamsa and the wrestlers in Kamsa’s court respond to young Krishna as he enters, saw soaring music from Krishna, with Priyadarshini keeping pace with impromptu interpretative elaborations. The singer was in his element in Kshetrayya’s “Kuvalayakshiro” in Gaulipantu with the dancer seated miming the nayika’s full confidence despite the sakhi’s tales about various escapades, that what Krishna and she had shared was special. Through the overpowering sweetness of Krishna’s Behag in “Vagaladi”, Priyadarshini performed abhinaya. A tani-avartanam nritta conclusion, set to notes of Nalinakanti, formed a wonderful end. Against artistry with mathematical rhythmic challenges, Priya managed to hold her own.

Sans introductory preludes after the almost loquacious earlier pair, Leela Samson’s recital was more in the traditional margam vein and one bowed to Bombay Jayashri’s humility in making no effort at projecting herself separately. Muthuswami Dikshitar’s “Ardhanareeshwara” in Kumudakriya was followed by the varnam in Natakuranji “Chelamelajesevaiyya”, the nayika yearning, asking the Lord (in the charanam refrain) if he finds her devotion a burden “Nannu brova neeku bharama?”

The strongpoint of the recital was the excellently balanced accompaniment, the nectarine melody of the veena (now rare in Bharatanatyam) by Anantakrishnan adding a new dimension. Notwithstanding shaky balance, Leela’s simple intensity was powerfully communicative, reaching its peak in the item visualising the descent of the Ganga, Jayashri’s meditative singing having the added thrust of Sheejith Krishna’s nattuvangam, emotively potent in tonal variety.

Jayashri was in full flow in the javali “Smarasundaranguni” in Paras, with Leela’s savoured abhinaya of the swadheenapatika nayika supremely confident of her enamoured lover. The piercingly melodic singing of the Kamas javali “Janaro ee Mohamu sahimpalene” had the dancer equally involved.
Finale

The music concert of the two vocalists, starting with a Muthuswami kriti in Lalita, excelled in the Bhairavi Shyama Sastri swarajati “Amba Kamakshi”, the interaction, with one singing the swara passages and the other the sahitya, complementing each other — raga and bhava finding the combined richness of two artistes who derive creative inspiration from each other. Long will one remember the ashtapadi “Priye Charusheele”, Krishna’s rendition in Mukhari and Jayashri’s in Sivaranjani mesmerising in pleading appeal, the alternate singing not disturbing the flow even while keeping to respective raga domains. What many felt on the final day could become a recipe for disaster, with one artiste too many, worked, because of the artistes’ accommodating spirit. With both singers rejoicing singing the Navaragamalika Dandayudapani Pillai varnam “Saamiyai azhaittodi vaa”, both dancers presenting individual interpretations and jatis stuck to their respective styles providing a contrast — the younger physicality and exuberance with ‘paichals’ (leaps) and mandi adavus and sarukkais and the more experienced, centred, underplayed, tradition-oriented strength. Leela’s gut emotions communicated while Priyadarshini’s abhinaya, her strong point, looked forced.

Dharmapuri Subbarayar’s “Sakhi Prana” in Senjurutti saw the singers in full play, and the tillana in Kamas was a deft interlacing of two Kamas tillanas by Patnam Subramania Aiyer and Lalgudi Jayaraman.

http://www.hindu.com/fr/2009/03/27/s...2750070200.htm

1. Relevance of Ramayana
A three-day seminar saw eminent scholars share their views.

http://www.hindu.com/fr/2009/04/03/s...0351400300.htm

2. Distinctly mellifluous
LEC-DEM The discerning audience enjoyed every moment of the all-Telugu music session presented by Balakrishna Prasad of Tirupati.

http://www.hindu.com/fr/2009/04/03/s...0351450400.htm

1. Lively and unusual
The French musicians' concert was unabashedly appealing
http://www.hindu.com/fr/2009/04/03/s...0350800300.htm

2. Sisters in concert
Music And more music
http://www.hindu.com/fr/2009/04/03/s...0350890300.htm

1. Going steady
Kannada journal turns 35\

http://www.hindu.com/fr/2009/04/03/s...0350760100.htm


2. Music festival
Weeklong music programmes

http://www.hindu.com/fr/2009/04/03/s...0350810100.htm


3. Songs all the way
Check out all the unusual concerts during this Ramanavami music season

http://www.hindu.com/fr/2009/04/03/s...0350840200.htm

When four was more
Vocalists did Carnatic music proud.

http://www.hindu.com/fr/2009/04/03/s...0350120300.htm

1. Enlightening literary meet
The meet effectively highlighted the human values in our ‘puranas’.

http://www.hindu.com/fr/2009/04/03/s...0350230200.htm

2. In honour of a doyen
A festival lauded the efforts of Gutala Krishna Murthy towards promoting and preserving Telugu literature.

http://www.hindu.com/fr/2009/04/03/s...0350240200.htm

3. Befitting World Theatre Day
‘Raaga Vaasistham’, scripted and executed with finesse, was a treat for theatre lovers.

http://www.hindu.com/fr/2009/04/03/s...0350280200.htm

4. For inner peace
Renu Jain strikes a chord with her sitar recital at Ravindra Bharathi.

http://www.hindu.com/fr/2009/04/03/s...0350320300.htm

5. Universally adored
The celebrated story of Rama appeals to the common humanity of the people.

http://www.hindu.com/fr/2009/04/03/s...0350340300.htm

A legacy lives on
Padma Subramaniam remembers her abhinaya guru, Gowri Amma.

http://www.hindu.com/fr/2009/04/03/s...0350360300.htm

கலையின் பரிமாணங்களைப் புரிந்துகொள்ள வேண்டும்!

தெளிவான பேச்சில் இழையோடும் தன்னம்பிக்கை. சங்கீதம், வரைகலை இரண்டிலும் ஆழ்ந்த ஞானம். உளவியல், ஆங்கில இலக்கியத்தில் பட்டப் படிப்பு. செதுக்கிச் செதுக்கி வார்த்தைகளை வடிக்கும் சிற்பியாய் நமக்குத் தெரிந்தார் கர்நாடக இசைப் பாடகி சவிதா நரசிம்மன். இனி, உங்களின் செவிகளைக் குளிர்விக்க அவரின் குரலோசை!

‘‘சங்கர சர்மாதான் என் முதல் குரு. இவர், சங்கீத உலகில் புகழ்பெற்று விளங்கிய ஆலத்தூர் சகோதரர்களில், சுப்பைய்யரின் தகப்பனாரான வெங்கடேச ஐயரிடம் சங்கீதம் கற்றவர். சர்மா சாரிடம் எட்டு வருடங்கள் சங்கீதம் கற்றுக்கொண்டேன். தில்லி ராகவன் சாரிடம் திருப்புகழ் சொல்லிக் கொண்டேன். சென்னையில், ரமா ரவி, ரவிகிரண் ஆகியோரின் மாணவி. எனது தகப்பனார் சிதம்பரத்தைச் சேர்ந்தவர், அழகாகப் புல்லாங்குழல் வாசிப்பார். தாயார் காஞ்சிபுரத்தைச் சேர்ந்தவர். நன்றாகப் பாடுவார். எனது சகோதரிகளும், சர்மா சாரிடம் கற்றவர்கள். எங்களது இல்லத்தில் சங்கீத சிரோன்மணிகள் வருவதும் தங்குவதும் பல காலமாகவே நடைபெற்றுக் கொண்டிருந்தது. சங்கீதத்தின் புனித மணம் எங்கள் வீட்டில் எப்போதும் வீசிக்கொண்டே இருக்கிறது.

என்னுடைய முதல் முழு அளவிலான மேடைக் கச்சேரி 1995-ஆம் ஆண்டு திருச்சியில் ரசிக ரஞ்சனி சபாவில் நடந்தது. அதே வருடம் நங்கநல்லூரில் உள்ள ஆஞ்சனேயர் கோவிலில் பாடினேன். அதுவரை ஒரு சேம்பர்- வீட்டளவு கச்சேரி கூடச் செய்ததில்லை. இந்த நிகழ்ச்சிகள் சிறப்பாக அமையவேண்டிச் செய்த அப்பியாசம், தனியான தயாரிப்புகள், வரவேற்று ஆதரித்த தேர்ந்த ரசிகர்கள் கூட்டம் எல்லாமே மறக்க முடியாத அனுபவங்கள்தான்.

அலர்மேல்வள்ளியின் நாட்டியத்திற்கு 1997 முதல் 2001 வரை பாடியுள்ளேன். பின்னர் நான் பிஸியாகிவிட்டதால், நீண்ட பயணங்கள் அவருடன் மேற்கொள்ள இயலவில்லை. மேடையில் நடனமாடுபவர் மூலமாக, அவரது பாவத்தையே நாம் பிரதிபலிக்க வேண்டும். நடனக்கலைஞரின் உணர்வின் அளவும், பாடுபவரின் உணர்வும் ஒன்றியிருத்தல் மிக அவசியம். நடனத்திற்குப் பாடுவதால் கச்சேரியில் மிகுந்த பாதிப்பு ஏற்படும் என்பதெல்லாம் வீண் பேச்சு. அறுபது எழுபது ஆண்டுகளுக்கு முன்னர் சிறந்த வித்துவான்கள் யாவருமே டான்ஸுக்குப் பாடியவர்கள்தான். ஒரே வரியை- ‘தெருவில் வாரானோ', என்பதையோ, ‘நடமாடித் திரிந்த' என்பதையோ, எண்ணற்ற முறை, அழகு நடையுடன், அலுப்புத் தட்டாமல் பாடும் விதத்தை இது கற்றுக் கொடுக்கும். பல நீண்ட நேர ஒத்திகைகளுக்கு ரெடியாகவும் இருக்கணும்.

ரவிகிரண் சார் தில்லிக்கு வரும்பொழுது எங்கள் வீட்டில் தங்குவது வழக்கம். அப்பொழுது நான் சின்னப் பெண். எனது பெற்றோர் ரவிகிரணின் முறை, பாணி ஆகியவற்றால் ஈர்க்கப்பட்டு, அவரிடமே நான் கற்கவேண்டும் என்ற எண்ணத்தை வகுத்து வைத்திருந்தார்கள் போலும். 1994-ல், நான் சென்னை இசை விழாவிற்கு வந்திருந்த நேரத்தில் அவருடன் இரண்டு அமர்வுகளுக்குப் பிறகு அவரிடமே முழு நேர மாணவியாகச் சேர்ந்தேன்.

நமது சங்கீதத்தின் மரபுத்தன்மை குன்றாமலும் சற்றும் சிதையாமலும், கற்றுக் கொள்பவரின் குணவாகுக்கு ஏற்பவும் கற்றுக் கொடுக்க வல்லவர். ஒரு நவீன கண்ணோட்டத்துடன் கண்டு கூறும் தனித்துவம் மிக்கவர்.

‘‘இசை தொடர்பான தொழில் நுட்பங்கள் பற்றி முதலில் கற்றுக் கொள்ளுங்கள், அடுத்து விடாமுயற்சியுடன் மேற்கொண்டு அதில் ஒரு நிபுணத்துவம் பெறுங்கள். பின்பு அதை மறந்துவிடுங்கள். அதைத் தாண்டி நிற்க வேண்டுமென்பது உங்கள் இலக்காக இருக்கட்டும்'' என்பார். அவருடைய கருத்தாக்கத்தில் உருவான நமது வாக்கேயக்காரர்களின் உயர்ந்த உருப்படிகளது தொகுப்பைக் கொண்ட குறுந் தகட்டிலும், ‘காஸ்மோஸ்' என்று வெளிவந்த மற்றொரு குறுந் தகட்டிலும் பாடும் கௌரவம் எனக்குக் கிடைத்தது.

2006-ஆம் வருடம், க்ளீவ்லாண்டில் பல வித்துவான்கள் முன்னிலையில் பாடினேன். அங்கு வந்திருந்த சங்கீத கலாநிதி உமையாள்புரம் சிவராமன் என்னை வெகுவாகப் பாராட்டிப் பேசியது எனக்குக் கிட்டிய அரிய சான்றிதழ். சமீபத்தில் ‘கல்கி' விருதை நான் பெற்ற பின் செய்த கச்சேரியைக் கேட்க, எம்.எஸ். அவர்களின் குடும்பத்தினர் அனைவரும் வந்திருந்து வாழ்த்தியது, என்னை ஆனந்தமடையச் செய்தது.

அமெரிக்கா, ஐரோப்பிய நாடுகள், கானடா, சிங்கப்பூர் ஆகிய நாடுகளில் கச்சேரி செய்து அனுபவம் பெற்றுள்ளேன். அந்த அரங்குகளின் இருக்கை அமைப்பு, எல்லா இடங்களிலும் நாதம் ஒரே சீராக இருக்கும் வண்ணம் செய்யப்பட்டிருந்தது. மைக்கை துல்லியமாகக் கையாளக் கூடிய நுண்பொறியாளர்கள் ஒவ்வொரு அரங்கிலும் இருப்பார்கள். பாடுபவரின் குரலைக் கேட்டு அதற்குண்டான அளவு ஒலியைக் கூட்டவோ குறைக்கவோ செய்து, ஒரு நாதானுபவத்தைக் கொடுக்கிறார்கள். கண்ணும், கருத்தும், கவனமும் இதற்காக நிறையவே செலவிடுகிறார்கள். இந்த விஷயத்தில் நாம் பின் தங்கிதான் இருக்கிறோம்.

அப்பியாசத்திற்கு ஒதுக்கவேண்டிய நேரம், நீண்டதா அல்லது குறுகியதா என்பதெல்லாம், சங்கீதப் பயணத்தில் ஒருவர் இருக்கும் நிலையைப் பொறுத்தது. ஆரம்ப நாட்களில், சுமார் 7 அல்லது 10 வருடங்கள், கட்டாயமாக ஆறு அல்லது எட்டு மணி நேரம் கொஞ்சம் வருத்திப் பயிற்சி செய்தாக வேண்டும். பயிற்சி இல்லாமல் குரல் வளம், இயற்கையாக அமைந்த திறன், இவற்றை வைத்து கோட்டை கட்ட முடியாது. நமது இசையின் ஜாம்பவான்கள் இதைத் தாரக மந்திரமாகக் கொண்டதனால்தான், உயர்ந்த நிலைக்கு வந்தார்கள். அவர்களுக்கென்று தனிப் பாணிகளை உருவாக்கினார்கள்.

பள்ளியில் 12 வருடங்கள் படிக்கிறோம். உடனே பலனை எதிர்பார்க்கிறோமா? எந்தக் கலையை கற்பதிலும் இதே அணுகுமுறை தேவை. கலையின் பரிமாணங்களைப் புரிந்து கொள்ளுதல் என்பது இன்றியமையாத ஒன்று. இரண்டு வருடத்தில் அரங்கேற்றம் என்ற ‘பாக்கேஜ்' முறையில் செயல்பட்டால் அரங்கேற்றத்தோடு நின்றுவிடும். கச்சேரி செய்வதிலேயே நாட்டம் என்றில்லாமல் இசையைக் கற்பதிலே நாட்டம் செலுத்த வேண்டியதை ஆசான்களும், ஏன் பெற்றோர்களும் இன்றுள்ள இளைஞர்களுக்கு வலியுறுத்த வேண்டும். அப்போதுதான் தன்னூற்றாக அவர்களின் உள்ளிருந்து வெளிவரும் சங்கீதம் உயர் தரத்தில் இருக்கும்.''

http://www.dinamani.com/sunday/sunda...Yo+v%FAP%F4%AC

High on emotion
Both music and dance lovers had something to look forward to in Mysore last week

http://www.hindu.com/fr/2009/04/10/s...1051350300.htm

1. Seventy and going strong
Gandharva Mahavidyalaya’s festival saw both seasoned and young dancers in excellent form.

http://www.hindu.com/fr/2009/04/10/s...1050060200.htm

2. Tell me a new one
Impresario India should rethink its role as a catalyst.

http://www.hindu.com/fr/2009/04/10/s...1050120300.htm

In search of a miracle
“Chimte Wale Baba” asks questions about the nature of spiritual pursuit and what nature does to men.

http://www.hindu.com/fr/2009/04/10/s...1050110300.htm

Absorbing offering
Ananda Shankar Jayant presented episodes from the epics.
http://www.hindu.com/fr/2009/04/10/s...1050230200.htm

2. A showcase of dance traditions
Nritya Sangam was a confluence of dances, much to the delight of connoisseurs.

http://www.hindu.com/fr/2009/04/10/s...1050290200.htm

3.Ballet on the battle
Dancers transported audience to Ashoka’s kingdom.

http://www.hindu.com/fr/2009/04/10/s...1050320300.htm

Bangkok goes Balle Balle
The Zee Nite Bangkok 2009 saw Indian singers and dancers set the Bangkok stage on fire.

http://www.hindu.com/fr/2009/04/17/s...1751090100.htm

1. Howrah Bridge (1958)
Madhubala, Ashok Kumar, K.N. Singh, Madan Puri
Cassettes CDs

http://www.hindu.com/fr/2009/04/17/s...1750390400.htm

2. Cassettes CDs

More than her singing, her lyrics hold forth. A young Lily Allen is a thinking artiste. Each of her songs in this album, her second, is a slice of her thought, the things that you think when you are in your ’20s.
http://www.hindu.com/fr/2009/04/17/s...1750410400.htm


Though the first ...

1. Light of Ray
The subtleties of Satyajit Ray’s movies were revealed at a three-day film festival.

http://www.hindu.com/fr/2009/04/17/s...1750320200.htm

2. Indo-Russian bonhomie

Indian and Russian artistes came together in a true tradition of sharing

http://www.hindu.com/fr/2009/04/17/s...1750330200.htm

3. Couplets in the air
Jashn-e-Bahar celebrated its 10th anniversary with an international mushaira.
http://www.hindu.com/fr/2009/04/17/s...1750300200.htm

A riveting play
Social drama ‘Rallaku Kanneellu’ was well enacted.

http://www.hindu.com/fr/2009/04/17/s...1750140200.htm

Pooja’s devotional chord
With her heart and soul in music, Pooja Prasad says music holds a primary place in her life.

http://www.hindu.com/fr/2009/04/24/s...2450350300.htm

I would like to introduce my cousin

Niveditha narayanan.

disciple of K. N. Shashikiran.

She is giving concerts and has few albums to her credit

http://carnatica.net/shopping/produc...roducts_id=123

She comperes a tv show in podhigai 'புதுப்-புனல்' (introducing new singers of classical music) On wednesdays 9 pm to 10 pm

http://www.youtube.com/watch?v=2uu45...eature=related

(thats one of her tv shows)

her blog link

http://www.livejournal.com/~nivedita_n/

Do visit her blog to get more details about her.

nice to know that SP :D

//are you referring to the musician, sashikiran called Carnatica brothers//

yeah shankar :)

great SP :D

she has also sung Telisi rama in Purnachandrika. it is the favourite of many a doyens. saw the guru kripa song list. Sri Ganapti, valli kanavan are my favourites. :)

thanks (on her behalf)
telisi rama enakkum pudikkum :)

RECOGNITION: Maadhu Balaji with the ‘Nataka Ratna’ award conferred on him. ‘Crazy’ Mohan, Madhan, AVM Saravanan, Kathadi Ramamurthy and Raadhu are with him.

With 5000 stage shows around the world, over 500 weeks of TV episodes, couple of films and the responsibility of being executive producer of a leading drama troupe for over 30 years, Maadhu Balaji got his first major honour on May 1, when Nataka Acad emy conferred the ‘Nataka Ratna,’ title on him.

Raadhu, president, Nataka Academy, said that he was happy to bring Maadhu Balaji to the forefront. ‘Crazy’ Mohan humorously mentioned that most people used to think Balaji was Mohan and so he has to put an extra effort while performing on stage to make people recognise him as ‘Crazy’ Mohan. Balaji has been the cementing factor in running the troupe as one cohesive unit for 30 years, Mohan said.

Kathadi Ramamurthy said he felt honoured when Maadhu Balaji said he drew inspiration from him (Kathadi). Cartoonist Madhan showered accolades on Balaji’s penchant for action cum reaction.

AVM Saravanan, presiding over the function, felt that Balaji’s clear cut decision to give preference to Stage as against films has benefited Tamil theatre.

Maadhu Balaji, responding to the felicitations, attributed his success to the strong and well-knit team behind him. The occasion was marked by the staging of the troupe’s 175th show of ‘Chocolate Krishna.’

http://www.hindu.com/fr/2009/05/08/s...0850730400.htm

Festival time
An evening of dance

http://www.hindu.com/fr/2009/05/29/s...2950880300.htm

http://www.hindu.com/fr/2009/09/25/s...2551250600.htm

Fascinating work on Tyagaraja

K.J. Yesudas live - at Thiruvarur:

http://www.youtube.com/watch?v=C_uBY0orrGA

12 languages, one theme…

SAVITHA GAUTAM

Aikya India 2010 promises to be a musical tour of India.

CULTURAL RENDEZVOUS: Aruna Sairam, Thota Tharrani and Ranjini Manian.

If the recent ‘Mile Sur Mera Tumhara' video proved that music is a binding force, so will Aikya India 2010, a musical offering by Global Adjustments.

The show that will see the vocal powers of Aruna Sairam blend with the creative eye of Thota Tharrani and the wordplay of Ranjani Manian, will unfold on March 27.

The concert is for a cause, and in this case, it's Smrutha Dhvani, an initiative of Interface, an NGO, and Global Adjustments, to care for retiring or retired artists in the field of the performing arts.

The format is the brainchild of Aruna Sairam. “Actually, while in college, we used to host what we called the Magic Carpet show, where songs from various Indian languages would find a place. That theme seemed perfect for Aikya India 2010.” This also gives Aruna a chance to showcase a wide repertoire of songs that she has learnt over the years travelling the length and breadth of India.

She recalls, “While living in Rajkot, I once heard a Rajasthani musician sing a local folklore with just an ektara to keep beat. The song moved me so much that I decided to learn it at once.” Similarly, she found herself “in the midst of thousands of devotees during the magnificent Rath Yatra of Puri Jagannath and heard the Oriya bhajan. I managed to get somebody to write down the lyric and learnt it. The Bengali bhajan I learnt is sung at Kolkata's Mahakali temple at 3.30 a.m. daily.”

Melodies such as these from 12 Indian tongues including Sanskrit, Marathi, Telugu, Kannada, Malayalam, and of course, Tamil will be presented by Aruna on March 27. As Aruna adds, “The theme is unity in diversity, but the underlying bhava will be bhakti.”

Setting the stage

Lending an aesthetic air to the proceedings will be the simple yet striking stage decoration by Thota Tharrani. “White, the colour of divinity, purity and peace, will envelop the stage. I plan to use letters of the alphabet from various languages to illustrate the theme. And maybe light it from below to create the right atmosphere,” is how Tharrani chooses to describe his vision of the sets. “The set should be such that it does not distract . In fact it should complement the music.”

Playing sutradhar will be Ranjani Manian, the moving force behind Global Adjustments. “We have all along been playing cultural connectors to expats and have helped them see India. To that effect, we plan a multimedia presentation of photographs of India as perceived by expats.” There will be eight accompanying artists.

Ranjani will take the audience through Aruna's songs, and in the process showcase a nation that moves forward in spite of and because of its multi-cultural ethos.

[The Aikya India 2010 show, sponsored by The Standard Chartered Bank, will be presented on March 27, 7 p.m., at MVSR Hall, Lady Andal School, Harrington Road, Chetpet. Donor passes (Rs.2,500, Rs.1,000, Rs.500 and Rs.250) are available at Global Adjustments, No.5, 3rd Main Road, R.A. Puram; Landmark (all outlets); Odyssey (Adyar and R. A. Puram); Chamiers; and Amethyst (Gopalapuram). Book online at www.indianstage.in. For details, call 98800 36611.]

http://www.hindu.com/fr/2010/03/19/s...1951090300.htm[/tscii]

Rich in classical content

A two-day music festival, featuring captivating vocal concerts of musicians, was organised by R.R. Sabha, Tiruchi, in memory of Maharajapuram Santhanam.

Photos: R.M. Rajarathinam

Soulful interpretation:(From left) Maharajapuram Srinivasan, Prapancham Mukyaprana, Vasudha Kesav and Maharajapuram Ganesh Viswanathan.

R.R. Sabha, Tiruchi, conducted a two-day music festival in memory of Maharajapuram Santhanam, in association with Maharajapuram Santhanam Foundation and Nadhadweepam Trust at the FGN Hall, R.R. Sabha, recently.

N. Sekar, secretary, R.R. Sabha in his welcome address, thanked all the associate organisations for making the festival a success.

The inaugural was presided over by Maharajapuram Nagarajan, who lauded the enthusiasm and interest of the Sabha in spreading the cause of music through such festivals.

Pleasant rendition

This was followed by Maharajapuram S. Ganesh Viswanathan's vocal concert. He began with a varnam in Sunadhavinodhini, indicative of the rich fare that was to follow. His rendition of ‘Sogasuga' in Sriranjani had all the curves and twists and the kalpanaswaras were imaginative, without being repetitive. He took up Vachaspati (‘Kanta Joodumi') for raga alapana, which was a great listening pleasure with a lot of classical content and bhakti element. Thodi (‘Sri Krishnam') was the main course and the elaborate treatment of the raga was inspiring.

Sparkling swaras

The next concert was by Vasudha Kesav, who with her mature voice, sruti alignment and gnanam captivated the audience. Her choice of Hamsadhwani to commence the concert was good with sparkling niraval and swaras. She sang ‘Ranganadhude' In praise of the presiding deity of Srirangam. Her attempt of raga Ramapriya for the kriti ‘Smaramyagam' was praiseworthy. ‘Marukelara' was a filler with a neat rendtion. Kiravani (‘Kalikiyunte') was the main raga taken up with all the ingredients, and was bhava laden.

The two concerts were accompanied by Tiruchi Govindarajan and Koviladi Madhwaprasad, who greatly contributed to the success, with their spirited performance.

The flute concert by Prapancham Mukyaprana was noteworthy for its gentle and sweet flow of music, with the natural sound of the bamboo holding sway. The blowing was perfect and the melody and fragrance had an enduring appeal.

He began with ‘Gajavadana' in Sriranjani and the swaras were delineated in great detail. Manoranjani had a brisk pace and was followed by ‘Narayana' in Suddha Dhanyasi, popularised by the late maestro Maharajapuram Santhanam.

The structuring of the raga was neat covering the entire gamut of the raga. The lower region was attempted through the use of the long bamboo and the effect was mesmerising.

The main piece was Kalyani (‘Etavunara') which was short but sweet. The swaras and kuraippu were done briskly.

Rare kriti

The concluding concert by Maharajapuram Srinivasan with vocal support by his son was outstanding. He began with a Durbar varnam and the invocation to Lord Vinayaka with a rare song. It was ‘Panchmatanga Mukha' by Dikshitar. The swaras were apt and crisp. ‘Ragunayaka' in Hamsadhwani was the one taken up for the warm up session and the long kuraippu and the final climax held the listeners' interest.

The audience was thrilled with the rendering of ‘Nenarunchi' in Malavi. Hindolam was taken up as the sub main and Srinivasan painted a colourful canvas of the raga. Sankarabharanam (‘Rama Ninnuvina') was the central composition and the raga was built by the father-son duo as a monumental edifice.

The powerful voices merged in unison and the rich antaragandhara of Sankarabharanam stood out and shone like a pearl.

The everlasting melodies of Maharajapuram Santhanam were taken up to the delight of the gathering and concluded with ‘Bho Sambho.'

The support by N.C. Madhav and Tiruchi Rangarajan for both the concerts was phenomenal and deserves special mention.


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