Margazhi Musings 2019: Rithvik Raja

Date: 27^rd Dec 2019  - Venue: Vidya  Bharati, Mylapore

Team: Rithvik Raja, M.Rajeev (Violin), N.C.Bharadwaj (Mridangam), Karthick (Ghatam)

Rithvik Raja continues to draw people like a magnet. His concerts are ticketed at in many concerts. I was ruing some of the missed chances when an opportunity at Sri Parthasarathy Sabha beckoned me. A good set of artists were waiting to give a feast to the rasikas. When I saw Ghatam Karthick, I was jubilant and sure of a great Thani.

Rithvik Raja & Team

Rithvik was straight into the grid with a Karaharapriya kriti of Thyagaraja Rama nee samana mevaru. Very beautifully rendered. This is the fist time for me to listen to Rajeev at violin. An amazing artist indeed. He earned more “Shabhash” from everyone including his fellow artists! That says something, doesn’t it? The Niraval was at paluku paluku laku tene.

Mysore Vasudevachar’s ever-green Khamas followed. Who can resist it no matter how many times it was sung! He started with the anupallavi O Chaturanandi vandita.

Then came the pièce de résistance of the concert. Dikshitar’s Chaturdasa raga malika extolling Shr Viswanatha of Kuzhikarai temple (Dakshina Kasi) located near Tiruvarur. He started with a beautiful alapanaa in Gowri and brought out the nuances of all the 14 ragas. Rajeev was a delight to listen to. He gave a tough fight to Rithvik and in the process, the rasikas benefited most! Rithvik proceeded to list the ragams too. He was fully involved in that kriti to the delight of one and all. The Thani avartanam provided lot of space for Bharadwaj and Karthick to showcase their talents. And they did in a fantastic manner. Both Rithvik and Rajeev joined the crowd happily!

There was time for a beautiful RTP with Pallavi lines Lokadhara Karunichara. This earned more applause too. Sapashya Kousalya, in Jonpuri, was rendered next. I am beginning to think this has become a regular fixure of Rithvik’s concerts either by design or on the spot decision! He ended the concert with Nottuswaras.

A pleasant concert for the rasikas who savoured every moment. Once again, I witnessed a cohesion amongst the artists and a great team play.

  

Ambience: *

 Vocalist: **

Accompanying artists: **

Raga of the Concert: Ragamalika

Overall: **

Margazhi Musings 2019: Kashyap Mahesh

Date: 22n^nd Dec 2019  - Venue: NGS Mini Hall

Team: Kashyap Mahesh, Durai Srinivasan (Violin), Neyveli Ramkumar (Mridangam), Balaji Sairam (Morsing)

Kashyap is dressed in a crisp cotton dhoti and a white shirt and looks very much the consummate Carnatic vocalist he is. He holds a doctorate in music from the Thanjavur Tamil University. Hailing from Trichy, he has won a lot of awards and given more than 2500+ concerts.  He has more than 5 concerts this season and I wanted to listen to him.

Dr Kashyap Mahesh & Team enjoying themselves

He started with a slokam Om Nama Pranavaarthaya and moved to Valachi vachi varnam. The Kedaram and Shree were so enjoyable. The ever-green Sriranjani kriti Gaja Vadana Karuna Sadana lifted the audience. He took up a Thayumanavar song next.

A detailed Harikahmboji alapanaa followed. The violin support was spot on. Rama nannu brova of Thyagaraja was rendered quite nicely. A brief niraval was at Meppulakai kannatavu nappu badaga. Kumbakonam Balaji Sairam provided a fabulous Morsing support. Kashyap’s diction and swara control were very good.

Dikshitar’s Sri Parathasarathy na palitosmyaham sada in Udayaravichandrika came next followed by a fast Vijayashree. Kashyap chose Thyagaraja’s Vara Narada Narayana. This seems to be the preferred peppy number by many vocalists these days! The audience nodded their approval. He is gifted with a pleasing voice that can effortlessly traverse the three octaves. His Sruti Sudham is noteworthy.

Within the given time, any singer could only do justice to a few. Kashyap attempted Kalyani and selected Kamalambam Bhajare re manasa. The thani provided ample opportunity for Ramkumar and Balaji. Balaji did better justice. Kashyap has prodigious talent with abundant manodharma. No wonder he was named as ‘Shri Kanchi Kamakoti Peeta Asthana Vidwan’ at a very young age. One reason why we don’t get to see him too often in Chennai is because he is settled in Trichy.

   

Ambience: **

 Vocalist: **

Accompanying artists: **

Raga of the Concert: Kalyani

Overall: **

Margazhi Musings 2019: Palghat Ramprasad

Date: 23^rd Dec 2019  - Venue: Parthasarathy Sabha

Team: Palghat Ramprasad, Nagai Sriram (Violin), Pathiri Satish (Mridangam), KVG (Kanjira)

Sri Parthasarathy Sabha - Full House

This is my first concert at Sri Parthasarathy Sabha. This Sabha has no frills and is trying to be functional. My only worry was regarding sound systems. Thankfully, that was tackled well by the veterans who have been with the Sabha for ages. If you step into the back side, you will find lot of space and also encounter lot of people sleeping peacefully at any time!

Knowing Ramprasad, I expected kritis with Gana ragas and also those that give scope for swara play! The entire concert of 2 ½ hours showcased only 4 kritis – MMG, Reetigowlai, Varaali and Arabhi. That’s about it. Siva loka nathanai kandu helped start the proceedings. Ramprasad went into it with full gusto. Bhrigas and Kalpanaswarams reverberated in the hall for a full 30 minutes. The sheer beauty of MMG in its full splendour! 100% to Ramprasad. Nagai Sriram, Pathiri Satish and K.V.Gopalakrishnan – One cannot ask for a better set of people to surround oneself with! The entire team came up in unison from the word GO. For us rasikas, what can we ask for more!

Ramprasad - A master of Brigas

A melting Reetigowlai alapanaa followed. Sriram showed why he continues to rule the violin world. He was able to bring out his innate talent to add more to Ramprasad’s alapanaa! Satish and KVG became rasikas during that time! Janani ninnu vina of Subbaraya Sastry was the chosen kriti. Tamasamu seyakane brovumu provided ample Kalpanaswarams for the singer to showcase his abilities.

A Varaali kriti of Thyagaraja came to provide a faster tempo. Perhaps Ramprasad felt Reetigowlai slowed down the audience! Ramprasad played with the words Karuna elagante ni vidhame kalyanasundara rama that gave ample scope for his reportire. I must give a special mention about the way Pathiri handled this. Just amazing support!

Dikshitar’s Mara koto koti Lavanya was next. Ramprasad makes singing such ragams so easy as he is able to traverse so elegantly. If Reetigowlai alapanaa scored 100%, Arabhi would mark an experience that was scintillating to say the least! And the violin, mridangam and Kanjira. The last 10 minutes was very well utilized by the percussionists. The audience refused to move. The artist, for the next program, had already come and was spotted waiting. Ramprasad had to fold his hands, get up and indicate the concert was over! The full house reluctantly got up to leave. That sums up the entire scenario. Just makes me wonder why he hasn’t got that many concerts this season!

  

Ambience: *

 Vocalist: ***

Accompanying artists: ***

Raga of the Concert: Arabhi

Overall: ***

Margazhi Musings 2019: Ashwath Narayanan - a star in the making

Date: 21^st Dec 2019 - Venue: Narada Gana Sabha, Alwarpet

Team: Ashwath Narayanan, Ananthakrishnan (Violin), Sumesh Narayan (Mridangam), Sunil (Ghatam)

I prided myself when I stepped into the mini hall five minutes before the concert. A gentleman, standing next to the door, looked at me quizzically. I kindly enquired if he had any intention of going inside. He replied that he was contemplating his next steps as the hall was full! Braving myself, I waded through and managed to find a not-so-preferred seat. A seat is a seat!

Within 10 minutes, more people flowed in and had no problems in sitting on the ground. Such is the popularity of this young man, who continues to show immense talent. Starting off with a Hamadhwani varnam, Ashwath went on to render Saketa Nagara Natha a Harikambhoji kriti of Mysore Sadashiva Rao. A runaway hit indeed! Brilliant Niraval and Kalpanaswarams flowed in at Rajitamara pala ramacandra bhupala. Ananthakrishnan added a new dimension to the violin. A lovely teamwork was visible.

A lilting Saranga Arunachala Natham Smarami of Dikshitar mesmerized everyone. Once again, the violinist was at his best. After singing a quick viruttam, he moved to the peppy number Vara Narada Narayana in Vijayashree. Even those, who defied his lovely music into slumber, were woken up. But it was the Karaharapriya that took the day to another level. Pakkala Nilabadi was given its due and more. Both Sumesh and Sunil extended their support very well. A Kabir Bhajan Bhajore bhaiya Rama Govind Hare soothed everyone in the audience. A Khamas javali of Dharmapuri Subbarayar marubari talanenura aura nasami filled us next before mangalam.

Ashwath Narayan has shown great capability to select the kritis for a given occasion. More importantly, he is able to work well with his co-artists to give a better experience. The let down was the constant tweaking of acoustics. At one point, Ananthakrishnan remarked that he couldn’t hear anything on the dais!

  

Ambience: **

 Vocalist: **

Accompanying artists: **

Raga of the Concert: Karaharapriya

Overall: **

Margazhi Musings 2019: BMK's Poorvikalyani - A bliss indeed!

aDate: 21^st Dec 2019 - Venue: Charsur, Myalpore

Team: Subhalakshmi (Violin), SaiGiridhar (Mridangam), Harihara Sharma (Ghatam)

My legs, heart and soul chose BMK for the 18:00 hrs slot on 21^st.  There were so many concerts. The BMK, I heard in Bharatiya Vidya Bhavan, was not enough! As he has the unique ability to bring in unexplored dimensions to each concert, I was sure of something. What I didn’t bargain for was that it would transport the rasikas into a bliss!

Kunnakkudi  BMK's start at Tiruvarur

The topic, for all artists, is the same – a pilgrimage from Mylapore to Kanyakumari. Of course, they can choose any route. BMK started by saying it would be a devious route and if anyone wanted to follow, he would be at his own peril for it would take more than 3 days to reach Kanyakumari! Tiruvarur Ganapathy (Mattruraitha Pillayar) provided the start in the form of Dikshitar’s “Sri Maha Ganapathi ravatumam” in Gowlai. An Atana of Thyagaraja was next. Then a mind-blowing Vasanta came of Tiruvarur Ramaswami Pillai – Kamakshi Kadakshi, wrongly attributed to Subbaraya Sastry. If that didn’t melt anyone in the audience, I wonder what would. Both the alapanaa, violin support and niraval were a class apart. BMK took us to Madurai next and showered a Saramati. The kriti was Arula vendum Thaye of M.M.Dhandapani Desikar.

We took a detour at Tirunelveli and worshipped Goddess Kantimati.

BMK's shower of Bliss

Dikshitar provided us (a not so often heard) a kriti in Devagandhari starting with “Shalivatishvaram bhajeham shalivati nagaraviharam.” Such a beautiful gem. Then, BMK moved us to Thanjavur. In the process, he transported us to bliss. Poorvikalyani was the raga of the day. I haven’t seen anyone exploring this raga so beautifully. The audience were enrapt like a bee sucking honey. No amount of alapanaa was enough. A pin drop silence. Subhalakshmi’s

Akkarai Swaminathan & Subhalakshmi

violin spoke beautifully! An unmatched support from her. Her father Mr Swaminathan, a great violinist, was sitting next to me and I had the fortune of listening to his words. He echoed the sentiment saying it was a heavenly Poorvikalyani indeed! Satileni guruguha murtini reverberated in the air. This is part of the Navaratnamalika kritis composed by the Tanjore Quartet as a Guru Dakshina to Dikshitar. I have, earlier, listened to a recording of this song by the one and only N.C.Vanatakokilam. Koti manmatha rupude sadguna sagara candrude was chosen for Niraval and Kalpanswarams. Sai Giridhar and Harihara Sharma came alive and showcased their talents during the thani so well that the audience asked for more!

In Chidamabram, we heard Muthu Thandavar (Part of Tamil Moovar) composition “Araar Asaipadaar.” With a pasuram of Thondaradipodialwar on Srirangam and a thillana on Mylapore, BMK ended the concert. A well-deserved standing ovation!

The venue was great too as I had written about it earlier. A word of caution on the acoustics. The problems started right from the beginning till mid-way. Perhaps, I spoke too soon about the good acoustics in my last concert!

  

Ambience: **

 Vocalist: ****

Accompanying artists: ***

Raga of the Concert: Poorvikalyani

Overall: ***

Margazhi Musings 2019: Ananya Ashok

Date: 17^th Dec 2019 - Venue: Charsur, Mylapore

Team: Ananya Ashok, Vittal Rangan (Violin), J.Vaidyanathan (Mridangam), Karthick (Ghatam)

It took a while for me to locate the Ramanujan Millennium Hall on D’Silva Road. I could have easily come to the venue from Luz Church Road! Google led me to believe coming from C.V.Raman Road is the better choice! I think this is the first time they are arranging in a hall at this venue. As soon as went to the second floor, we were greeted well and ushered into the hall. A professional set up indeed with excellent acoustics as well as dais for the artists. The cleanliness of the hall and facilities were spot on. The theme, for this year’s concerts, is Kshetram, from Mylapore to Kanyakumari.

Ananya Ashok at Charsur

Ananya Ashok has more than 6 concerts this season. The accompanists are also top class. No reason to miss this concert. By the time I located the hall and got into the seat, Ananya was into the second kriti Kunjitha pathathai tharum of Gopalakrishna Bharati in Pantuvarrali highlighting Chidambaram. We were transported to Swamimalai, one of the six major abodes of Lord Subrahmanya, next. Dikshitar’s Shri Balasubrahmanya reverberated next in Bilahari. It was an excellent rendition with Vittal Rangan’s support. Tanjore was our next stop. A brilliant, albeit short, alapanaa of Anandabhairavi filled our lungs and heart. Tanjore Sivanandam’s Kappathuve unathu baram was the chosen kriti.

                                                                       

Tanjore, as we all know, is a land of Kshetrams. Tiruvarur came next where we have so many kritis extolling Thyagaraja, its principal deity. A Thevaram “Sula padaiyanai” in Kamalamanohari followed us. Ananya chose a lovely Shankarabharanm next and showcased her absolute control during the alapanaa. Shyama Sastry’s kriti, extrolling Madurai Meenakshi, “Devi Meena Netri Brova” was a melting rendition. All the accompanists rose to the occasion. After a brief stopover at Tiruchendur with a Thiruppugazh, we were led to Kanyakumari. Ananya chose a kriti, composed by her father Subrahmanyan, in Punnagavaraali. It started with “Bhagavathi Parashakti Amme”. Ghatam Karthick as a picture of joy. Both he and Vaidyanathan were brilliant encouraging each other.

A very satisfying concert indeed.

  

Ambience: ****

 Vocalist: **

Accompanying artists: **

Raga of the Concert: Shankarabharanam

Overall: **

Margazhi Musings 2019: V. Krupaa Lakshmi

Date: 17^th Dec 2019 - Venue: Vani Mahal, T. Nagar

Team: V.Krupaa Lakshmi, T.Kishore (Violin), Shankar Prasad (Mridangam)

Time to go to the concerts of budding youngsters. I decided, in no particular order, to select a few artists and try to listen to them. Nalli’sguide (the ready-reckoner) helped me to arrive at this list. An useful indicator, in the absence of anything else, is the number of concerts the artist has this season.

It was Ms V.Krupaa Lakshmi at Vani Mahal. When I was entering the hall, I happened to meet Kaustubh, a first-year engineering student in Hong Kong and a classmate of my son Saishankar. Kaustubh Chandamouli has given many a concert on his own and a promising youngster. He expressed surprise at seeing me in this concert. I explained the background to my choice. It turns out that Krupaa Lakshmi is the daughter of his music teacher. As usual, the mini hall was barely occupied testing the fortitude of these youngsters.

She started off with a Sriranjani kriti of Papanasam Sivan Gaja vadana Karuna Sadana. Puliyur Doraiswamy Iyer’s Nattai kriti Sarsiruha Sana came next. She did a decent rendition. Thyagaraja’s Manasa etulortune in Malayamarutham filled the hall. She tried to do niraval with Kalpanaswarams at Kalilo rajasa tamasa gunamulu. I am afraid that was a little below part. Perhaps, stage blues?

A Rudrapriya was chosen next with lot of scope for Chittaswarams. Amba paradevate anadi Shiva sahite was attempted next. This was followed by a Kalyani alapanaa. The sahityam was Kamalambam Bhajare re manasa of Dikshitar. I felt her alapanaa was good. The violin support was excellent outshining the vocalist. The thani was decent too. The mridangist came to bloom only during the thani. A Behag thillana was chosen next before Mangalam.

It is very important that they plan the kritis and practise them well. Practice of Chittaswarams and control over the laya are extremely important. Moreover, it is an art to get along with co-artists and make the concert as enjoyable as possible. I am sure she will do an impressive job in her other concerts.

  

Ambience: ***

 Vocalist: *

Accompanying artists: *

Raga of the Concert: Kalyani

Overall: *

Margazhi Musings 2019: Bharat Sundar #2

Date: 15^th Dec 2019 / 18:00 Hrs

Venue: Meenakshi College, T. Nagar

Team: Bharat Sundar, Shruti Sarathy (Violin), Poonkulam Subrahmanyan (Mridangam), Harihara Sharma (Kanjira)

Full House 

Having been forewarned, Bharat Sundar ensured they he and the team spent quite some time in cultivating a good relationship with Latha Sound Systems people (there was only one around) to get the acoustics as right as it could be given the constraints of the hall. The accompanists are very good on their own merit. A special mention was made about Harihara Sharma for he is the grandson of the master Vikku Vinayakram.

Bharat hitting a sixer!

Bharat got into his business quickly with a valachi vachi varnam and proceeded to the Nattai Maha Ganapathim. Sruthi didn’t waste any time in getting into the groove.  Dasa’s “Idu bhagya idu bhagya” in Pantuvaraali was next with a great alapanaa and support from violin. Vasudesha Purandara was taken for Niraval and Kalpanaswarams.

A brief Atana Bala Kanaka Maya set the tempo for the rest. The ever-green Hindolam of Papanasam Sivan “Nambi kettavar” reverberated with Poongulam Subrahmanyan slipping into the tempo effortlessly. A word about the Ghatam player Harihara Sharma. He displayed uncanny understanding of the nuances and displayed his skill perfectly of a Upapakkavadhyam player to enhance the concert. A Karaharapriya came next – Janaki pate Jaya karunya.

The clock showed 20:10 Hrs. Then, he had a quick word with Subrahmanyam to ensure there was enough time to slip in a RTP. Thank God, Poonkulam replied in the affirmative! A lovely Hameerkalyani alapanaa and short Thanams flowed. It was a brilliant rendition with the violinist coming out at top. Bharat chose the Pallavi lines “Vadaname Chandra Bimbamo Senthur vazh Murugaiya nin.” After the Pallavi lines were sung sans swaras, he proceeded to bring the Sivakavi Song by MKT in Sindhubhairavi. The crowd erupted in joy.

A Lalgudi thillana in Behag came next before Mangalam.

A harmonious encore

It was a full house indeed and the joy was palpable amongst the audience. Sometimes, a concert can be too technically correct but lacking in audience and team connect. Here, we saw how the artists came together and the audience felt being a part of it. It is the latter that brings happiness.

Well done, Bharat Sundar and the team.

  

Ambience: *

 Vocalist: ***

Accompanying artists: ***

Raga of the Concert: Hameerkalyani

Overall: ***

Margazhi Musings 2019: Thalaivar Sanjay

Date: 13^th Dec 2019 / 18:00 Hrs

Venue: Pethachi Hall, Mylapore

Team: Sanjay, Varadu (Violin), Nanjil Arul (Mridangam), Bhagyalakshmi (Morsing)

When we tried to book a balcony ticket for Thala at Pethachi, it took a while and some glitches happened. When the system was back in full mood, the tickets were gone! Not to be outclassed by the system, we resorted to the good old physical method. My wife stood first in the queue at 16:00 hrs on 12^th Dec waiting for the dais tickets to open at 17:00 Hrs. At 17:05 hrs, after a brief panic when I couldn’t locate her, she emerged victorious from the counter and thus laid the foundation for this concert!

Thala was, as usual, on the stage by 17:45 Hrs. The concert had Nanjil Arul at Mridangam and Bhagyalakshmi at Morsing.

The one question that raced in my mind was what would be Thalaivar’s choice for RTP. Let that question wait for now. Starting off with a Mukhari varnam “Madirakshi” of Tiruvottiyur Thagayya, he went on to sing a Jaganmohini kriti. No, not Shobillu! It is Daya payo nidhe of Meesu Krishnaiyer. Having set the stage, Balahmasa came out in torrents in the form of Dikshitar’s Guruguha Dhanyam. So far so good.

A mind-blowing Keeravani alapanaa engulfed the air. Everyone was thinking of what kriti would be the chosen one. Appar’s Thevaram “Vananai madhi soodiya” reverberated. A pure bliss. Niraval was at “Veeranai vidamunda”.

A lilting Sahana wafted in the air next. Sri Panchanadeesham of Patnam Subrahmanya Iyer filled the lungs. The whole audience swayed to Sanjay’s swaras. Varadu, as usual, went on to interpret the raga in his own style that added more glitter. Arul was no less surprising. But it is Smt. Bhagyalakshmi who stole the thunder in morsing. The audience roared their approval.

A quickfire Marga Hindolam of Chalamelara was next followed by Yamunakalyani of Dikshitar Nandagopala Mukunda. Some might argue that these were fillers before the storm. For most of us, they provided no less of an enjoyment.

Then came an out-of-the-world alapanaa in Revathi. A detailed RTP brought out the full splendour of the raga. I felt “Bho Shambo Swayambho” reverberating in the background. Arul and Bhagyalakshmi excelled during the thani. It was in adi talam 2 kalai. The Pallavi lines were “Bharathikku nigar Bharathiye.” At the end of it, everyone felt “Sanjaykku nigar Sanjaiye.”

After a viruttam, Kapi (Swati Tirunaal’s Nama Sudha Rasam) was served. Kuthmabai Chittar’s Vetta veliyil came. I am beginning to wonder if this is one of Thalaivar’s favourite! Kurinji that was dished out last thanks to Papanasam Sivan’s Engum Nirainthirukkum. This is one of the ancient ragas with Tamil equivalent of Kurinjippann.

And the honour goes to Keeravani, Sahana and Revathi. No one could decide. A spellbound audience gave a standing ovation to the one and only superstar. I spotted Sandeep Narayan, Gayathri Girish and her mother too. Very rarely do I get to see other singers coming out to enjoy amidst their busy schedules!

  

Ambience: ***

 Vocalist: *****

Accompanying artists: ****

Raga of the Concert: Revathi

Overall: ****