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Thread: Concert Reviews

  1. #141
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Amritha Murali is one youngster who has made a mark as a vocalist and violinist. This studious artiste, a disciple of stalwarts such as the Kedaranathans and vidushis Rama Ravi (vocal) and T. Rukmini (violin), is also mentored by P.S. Narayanaswamy. With such impeccable credentials and a meticulous work ethic, she has become one of the brighter talents of the young brigade that gives much hope and optimism for the future of Carnatic music. Her approach during a concert for Brahma Gana Sabha in the 2.15 p.m. slot on Saturday, in the company of Ranjani Ramakrishnan (violin) and Arjun Ganesh (mridangam) served to reinforce that optimism.
    http://www.thehindu.com/arts/music/article2729792.ece

    At the concert held at Narada Gana Sabha, Kadri Gopalnath began the� Saxophone recital in raga Bahudari (Janyam of Harikhambodhi) and took up Bhaja Manasa composed by Thulasivanam. The pattern of swaras had a progression in terms of enticing rhythmic models. It was evident that he was exploring to achieve the noble dimension of self-enjoyment and spiritual quest.
    http://ibnlive.in.com/news/a-scintil...10-60-120.html

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  3. #142
    Senior Member Seasoned Hubber R.Latha's Avatar
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    When vocalist Sowmya, in her concert for Narada Gana Sabha, displayed the ‘Sukham’ aspect of music, rather than displaying vocal propensities, the ‘loftiness of Carnatic music came to the fore. When she dwelt at length on (Ra Ra Mayandi) of Thyagaraja in Raga Asaveri with extensive swaras, the astuteness of the vocalist, in evoking the ‘Bhava’ came to the forefront.
    http://ibnlive.in.com/news/vocalist-...03-60-120.html

    Nisha Rajagopal, the recipient of ‘The Hindu Saregama M.S. Subbulakshmi Award', presented a satisfying morning concert at The India Fine Arts Academy on Sunday. She was accompanied by Nishanth Chandran on the violin and B. Ganapathiraman on the mridangam. The well-balanced presentation was a testimony to her commitment to the core values of Carnatic music. Endowed with a sruti-aligned expressive voice-range traversing the octaves, Nisha used it to good effect to render gamaka rich phrasings with ease. The influence of her training under several gurus was also evident, her style, a neat amalgam of several styles.
    http://www.thehindu.com/arts/music/article2732787.ece

    Nagabhushan� Hegde, an exponent of the kirana gharana style of Hindustani classical music, the audience through a gamut of� expressions or rasas - from fervour and obeisance to ecstasy, from adoration� and passion to utter sorrow of separation, and finally from sheer joy and revelation in the beauty of the Lord, back to devotion and bhakthi.
    http://ibnlive.in.com/news/audience-...38-60-119.html

  4. #143
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    Parasuram and Anuradha sriram jugalbandi
    http://ibnlive.in.com/news/mindblowi...35-60-120.html

  5. #144
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    Veteran Vedavalli’s musical expressions on the inaugural day of the Academy’s 85 Annual Conference and Concerts, reiterated her strong faith and humility in presenting the purity and divinity of Carnatic music. One is awed by her grasp of on the ragas’ range and melody, and her proclivity to bring forth the succulent parts of the raga. ‘Meenalochana Brova’ of Syama Sastri carries the quintessence of Dhanyasi and Vedavalli added extra aesthetic flourishes in her niraval and swaras on ‘Syama Krishna Sodari.’
    http://www.thehindu.com/arts/music/article2737920.ece

  6. #145
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    The art of their presentation and imagination in the mixed menu, presented by Trichur Brothers (Srikrishna Mohan and Sriramkumar Mohan), disciples of legend vocalist PS Narayanaswamy and Neyyatinakara Mohanachandran, was scintillating, as they brought out the tranquility and grandeur of compositions, chosen for exposition at Krishna Gana Sabha.
    http://ibnlive.in.com/news/an-ebulli...08-60-120.html

  7. #146
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    Synergistic synchrony among the violin trio in a concert led by Sangita Kalanidhi T.N. Krishnan along with his daughter Viji and son Sriram, was a breezy touch of class at The Music Academy on Christmas morning. The concert was of vintage value as the octogenarian vidwan — active in the field for nearly seven decades — chose to play from the choicest list of the best of the stalwarts he has accompanied over the years.
    http://www.thehindu.com/arts/music/article2747537.ece

  8. #147
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    Dr Krishna Vageesh's knowledge shines through his music. His choice of songs encompasses unheard songs of known composers. When he started the concert, for Naadhabrahmam, with Khambodi Ata tala varnam, ‘Sarasijanabha,' sung in two speeds with charanam in fast pace, with his sonorous and powerful voice, the hall was filled with sunaadam.
    http://www.thehindu.com/arts/music/article2754363.ece

  9. #148
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    A bright star in the Carnatic music horizon. What a voice in the young childish frame. Prachothan is still a child but his music is mature. After a brief essay of Janaranjani he sang ‘Nejesina’ with swaras for the pallavi. His raga alapana of Ranjani had depth and grace.
    http://www.thehindu.com/arts/music/article2754265.ece

  10. #149
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    Vocalist Madurai T.N.S. Krishna performed on Monday and was supported by a team of experienced artistes — S.D. Sridhar (violin), Umayalpuram Mali (mridangam) and S.V. Ramani (ghatam). If one were to listen to T.N.S. Krishna with eyes closed, it would be immediately evident that he has imbibed the musical approach and values from his father and guru T.N. Seshagopalan, with a nearly identical style of akara phrasings and brikas. His grip over raga, kriti rendition, neraval and kalpana swaras was on display during his concert. The end product is that he is able to deliver high quality music with punch and vigour and thus keep the tempo going throughout the concert.
    http://www.thehindu.com/arts/music/article2758677.ece

    It was the meeting of North and South in terms of the music and, that of East and West as regards the instruments. Curiosity was writ large on the faces of the rasikas as Kadri Gopalnath shared the dais with Pravin Godkhindi. The saxophone and the flute or bansuri together created mesmerising effects as was evident from the rounds of spontaneous applause from the audience.
    http://www.thehindu.com/arts/music/article2757989.ece

    Priya sisters were in their usual zest and verve. The concert was so peppy that by the end of the first hour, the main ragam, Kharaharapriya had been launched, after six songs. The kathanakuthuhalam varnam, ‘Sri Vatapi’ (Sahana, Sivan) with swara adjuncts, ‘Lavanya Rama’ (Purnashadjam, Tyagaraja), ‘Pirava Varam’ (Lathangi, Sivan), ‘O, Jagadamba’ (Anandabhairavi, Syama sastri) and ‘Nagagandhari Raganuthe’ (Dikshitar) descended into the hall in an hour of musical hailstorm. The similar tala structures and an essentially uniform kalapramanam made it sound like an orchestral serial. ‘O, Jagadamba,’ promised to provide the calming effect, but the upper speed play of Patri Satish Kumar (a bit inappropriate) put paid to any such enjoyment. The sisters’ talents were however fully displayed in the Lathangi alapana (especially in ga,ma,da and da,ni,ri zones).
    http://www.thehindu.com/arts/music/article2758015.ece

  11. #150
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    Voice is one of T.M. Krishna’s strengths and exceptional tonal quality, good use of amplification and articulate enunciation of lyrics stood out at this concert. His reputation for new tactics (sometimes controversially bizarre) creates curiosity before a concert. Vagatheeswari (‘Paramatmudu’) as the main piece, first speed swaram for a second speed sahityam and the likes filled the newness quota for the evening.
    http://www.thehindu.com/arts/music/article2760764.ece

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