Kutchery Crithical - Concert Review by Shankar Venkataraman

THE BUD THAT HAS BLOSSOMED WITH FRAGRANCE Vocalist Shruthi Shankarkumar commenced her wonderful concert with a tamil varnam “Kannanai Mani vannanai..” in the ragam Husseni, composed by Violin Maestro Lalgudi Jayaraman. The presentation was a pleasant surprise as majority of the artistes render varnams in Telugu language. This tamil varnam sprinkled rose water on the rasikas and welcomed them to the concert. Shruthi then moved on with a Swati Thirunal Krithi “Saroja naabha dhayarnava Maamava sharadhendhu mukha seshapuraalaya” set in Chakravakam. She displayed the beauty of the raga with a very sweet delineation at “Dhara ramaa ramana Amara paalaka…” A brief aalapanai of Kannada followed. The violinist gave anexcellent account of the same effortlessly. Sri Muthuswami Dikshithar’s “Sri Mathru bhutham” was presented brilliantly. The exploration at “Suwasitha Nava Javanthi Pushpa vikasapriya hrudhayam..” was excellent. Then came the magnum opus piece of the concer...

DIWALI DHAMAKA Rajesh Vaidhya and his team gave an electrifying performance at the concert arranged under the aegis of Meenakshi Sundararajan Fine Arts Academy on Thursday the 19th December 2019. As the main artiste had to rush to Meenambakkam airport to catch the 9.00 p.m. flight to Dubai, the concert was advanced to 5.30p.m. The auditorium was full and overflowing even 30 minutes before the advanced time of the concert.  Rajesh Vaidhya and his team commenced the concert to a tumultuous welcome with an invocation song “Giriraja Suthaa” by Thyagaraja in Raagam Bangaala. The fast number was followed by another Thyagaraja krithi in Poornachandrika “Thelisi Raama chintanato..” with brisk and speedy rhythmic patterns. One more Thyagaraja krithi “Jaanaki Ramanaa…” in Suddha seemanthini was presented with high speed. The delineation at “Raktha nalina dhala” was electrifying and energetic. An intense Raagam –Thaanam in Amruthavarshini followed with cascade of swara patter...

SOAKED IN BHAKTHI  BHAAVAM Gayathri Venkataraghavan opened her beautiful concert with a majestic Naattai raga varnam “Sarasijanabha” composed by Swathi Thirunal . Papanasam Sivan’s Shanmugapriya composition “Aandavane unai nambinen” came in with a fresh fragrance of devotion embedded in it.  A crisp and catchy Dhanyasi   aalapanai conquered the rasika’s heart. The violinist also portrayed a beautiful Dhanyasi. Shyama Sastry’s “Meenalochana Brova..”  was the song chosen. A quick and a sharp Saalakabhairavi aalapani was followed by its violin display neatly as the vocalist proceeded to present Thyagaraja’s “Padhavini Sadbhakthi”.  Then came the main item. The artiste decorated Kalyani with traditional beauty-cosmetics and adorned the ragam in an adorable manner. Her Paatanthiram and Manodharma  Sangeetham swelled like an overflowing stream ….but all within the prescribed limits. Violin replay of Kalyani was very n...

DICTION….DEDICATION…..DEVOTION……….AND  DISTINCTION Dedication, devotion, wide range of repertoire, concrete commitment to classicism without compromise and clarity in presentation make N.Vijay Siva stand out as  a distinct classical musician in the realm of carnatic music.  Vijay Siva commenced his concert with a heartwarming “Pagavari…” Hamsadhwani varnam composed by Patnam Subramania Iyer. That was followed by a clear-cut Jayamanohari raga krithi of Thyagaraja “Nee Bhakthi Bhagya Sudha..” The beautification at “Naadhathmaka Thyagaraja Nadha Aprameya sadhaa..”was so clear with a wonderful diction that it was easy to note down the entire song. That proved Vijay Siva is undoubtedly the torch bearer of DKP/DKJ legacy presenting the song with utmost clear diction in his own inimitable style without producing any mirror images of his mentors. Mysore Vasudevachariar’s Kalyani raga krithi “Kailaasa pathe maam paahi…Boo kailaasa pathe…” received a regal treatmen...

Mridangam Maestro stole the show....! Sandeep Narayanan commenced his concert with Poochi Srinivasa Iyengar’s Ata Taala varnam in Kaanada “Nera nammithi”.  Then came a rare composition of Thyagaraja in Gaanavaridhi ragam….”Dhaya Juchuta..” The violinist portrayed a beautiful Gaana varidhi. Muthuswami Dikshithar’s Dwijavanti kriti “Chetha Sri Balakrishnam Bhajare” was very pleasing. A quick and vibrant Kuntalavarali followed. Swati Tirunal’s “Bogeendra Saayinam…” had a marvelous mrudangam support by maestro Dr. Umayalpuram K.Sivaraman. His touches gave a dance recital effect to this particular song. The vocalist made a passing reference of M.K.Thagaraja Bhagavathar’s “Maname Nee Eesan Naamathai..” set in Kuntalavarali in the film “Ashok kumar” during his raga exploration.  An elaborate Thodi was captivating. The violinist’s version was effective. The vocalist traversed through Karnaranjani and Kurinji interludes innovatively. “Kaarthikeya Kaangeya Gowri Thana...

Electrifying Sid Sriram                  vocal H.N.Baskar                 Electrical violin  Patri Satish kumar      mridangam Giridhar Udupa           Ghatam Bangalore Rajasekar   Moharsing  Well before the commencement of this concert, the hall was almost full inspite of being a Sunday plus a West Indies Vs India ODI at Chepauk.  Sid Sriram commenced his concert with his signature invocation..”Vakrathunda Maha Kaaya..” in Behaag followed by “Vanajaksha Ninne nammithi..” varnam in that same raagam composed by Prof. T.R.Subramaniam That was followed by Papanasam Sivan’s Shanmugapriya song”Saravana bhava enum thirumandiram..” which was a bit loud. The violinist gave a beautiful account of Shanmugapriya. A brief aalapanai in Sahaana was followed by “Raghupathe Raama…Rakshasa Bheemaa..” a composition of Thyagar...