Gayathri Venkataraghavan @ TTD, Chennai

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(Photos courtesy Sri Pyarilal of carnaticsangeetham.com)

Venue: TTD Information Center, Venkatanarayana Road, T.Nagar, Chennai

Date: 23 June 2007

Organizer: TTD Information Center

Vocal: Vid Gayathri Venkataraghavan

Violin: Vid Charumathi Raghuraman

Mrudangam: Vid Erode Nagaraj

Ghatam: Vid H. Prasanna

Tambura: Vid Vijayalakshmi

List of songs:

1) valaci (varnam) – rAgamAlikA – Adi – kothavAsal venkaTrAma iyer (O)

2) nEnendu vEtukudurA – karnATakabehAg – Adi – tyAgarAja (S)

3) shrInivAsa nInE pAlisO – Anandabhairavi – rUpakam – purandaradAsa (AS)

4) nI irangAyenil – aTANA – Adi – pApanAsam sivan

5) shrI rAjagOpAla – sAvEri – Adi – muthuswAmi dIkshitar (AN)

6) ninnu vinA – navarasakAnaDA – rUpakam – tyAgarAja

7) nijadAsa varadA – kalyANi – Adi – paTTaNam subramaNya iyer (ANST)

8 ) ANAda selvathu (viruttam) – sahAnA & kApi – kulasEkara AzhwAr

jO achutAnanda – kApi – kanDa cApu – annamAcArya

9) nAdrudru dhIm tadiranA (tillAnA) – vasantA – Adi – ammAchatram kannusAmi piLLai

10) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

It was an enjoyable concert that lit up my Saturday evening. All kritis were rendered well. Kalpana swarams were put at the pallavi line in “nEnendu” and “shrInivAsa nInE” and at “bhujagAdhipa shayana …” in “nijadAsa varadA“. Neraval was done for the same line in “nijadAsa varadA” and at “nArAyaNa tAraka divyanAma” for “shrI rAjagOpAla“. Vid Gayathri’s raga alapanas were very melodious and captivating. Her Anandabhairavi alapana was hailed as “brahmAnandabhairavi” by one of the rasikas.

Vid Gayathri was ably assisted by all her accompanists. Vid Charumathi’s raga alapanas were enjoyable. Vid Erode Nagaraj and Vid H. Prasanna played well for all the songs. Vid Nagaraj’s ghumukki laden accompaniment gelled very nicely with the songs. Taniavartanam played for the kriti “nijadAsa varadA” comprised the catusra and tisra naDais.

The concert ended with a tillAnA on Lord Anjaneya in raga vasantA and a traditional mangaLam.

Gokulashtami Concerts 2007 @ Odukkathur Mutt, Bangalore

This one is for rasikas in Bangalore. The schedule for SGBS Trust’s Gokulashtami Concerts is available at http://www.sgbstrust.org/ASP/Art.htm#mconcert

Reminds me of the same time last year when I attended most concerts in that series, traveling all the way from the opposite end of the city.

Schedule is pasted below for ready reference:

Music Concert

 

18.08.2007
Saturday
6-00 pm

Smt Shanmughapriya & Smt Haripriya (Priya Sisters)
Sri M A Krishnaswami
Neyveli Sri Skandasubramaniyam
Madipakkam Sri A Murali

19.08.2007
Sunday
6-00 pm

Smt Sudha Raghunathan
Sri.B.Raghavendra Rao
Neyveli Sri N. Narayanan
Dr.S. Karthick

20.08.2007
Monday
6-00 pm

Sri TM Krishna
Sri TKV Ramanujacharyalu
Karaikudi Sri R.Mani
Sri V. Suresh

21.08.2007
Tuesday
6-00 pm

Madurai Sri TN Seshagopalan
Sri VV Ravi
Srimushnam Sri V Raja Rao
Sri CP Vyasavittala

22.08.2007
Wednesday
6-00 pm

Sikkil Sri C.Gurucharan
Sri.MA Sundareswaran
Umayalpuram Sri K.Sivaraman
Sri EM Subramanian

23.08.2007
Thursday
6.00 pm

Mysore Sri M. Nagaraj & Dr.M Manjunath (Violin Duet)
Sri Arjunkumar
Vaikom Sri Gopalakrishnan

24.08.2007
Friday
6-00 pm

Sri U.Shrinivas (Mandolin)
Sri HK Venkatram
Sri B.Harikumar
Sri SV Ramamani

25.08.2007
Saturday
6.00 pm

Smt Nithyasree Mahadevan
Sri HN Bhaskar
Poongulam Sri S.Subramanian
Smt Sukkanya Ramgopal

26.08.2007
Sunday
10.30 am to
12.30 p.m

 

6.00 pm

Thematic Presentation on “the compositions of
Papanasam Sivam” by

by Papanasam Sri.Ashok Ramani
Sri P.Unnikrishnan;
Sri BU Ganesh Prasad
Sri K V Prasad
Sri ASN Swamy

27.08.2007
Monday
6.00 pm

Sri Sanjay Subramanyan
Mysore Sri M Nagaraj
Guruvayur Sri Dorai
Sri TV Vasan
28.08.2007
Tuesday
6.00 pm
Sri.Sriram Prasad & Sri Ravikumar (Malladi Brothers)
Sri. Sriram Parasuram
Sri.V.Kamalakar Rao
Sri BS Purushotham
29.08.2007
Wednesday
6.00 pm
Dr. Sreevalsan J Menon
Sri S.Varadarajan
Sri P. Satish Kumar
Sri N. Amrit
30.08.2007
Thursday
6.00 pm
Sri N Ravikiran (Chitraveena)
Kumari Akkarai Subhalakshmi
Mannargudi Sri A.Easwaran
Sri G. Guruprasanna
31.08.2007
Friday
6.00 pm
Kadri Dr Gopalnath (Saxophone)
Kumari Kanyakumari
Haridwaramangalam Sri AK Palanivel (Thavil)
Sri Giridhar Udupa
Sri B. Rajashekar (Morsing)

Sikkil Gurucharan @ Narada Gana Sabha, Chennai

Venue: Narada Gana Sabha Mini Hall, TTK Road, Chennai

Date: 20 June 2007

Occasion: Narada Gana Sabha & Papanasam Sivan Rasigar Manram

Vocal: Vid Sikkil C. Gurucharan

Violin: Vid Nagai Sriram

Mrudangam: Vid Tiruvarur Vaidyanathan


List of songs:

1) tuNai purindaruL – suddha hindOLam – Adi – pApanAsam sivan (S)

2) vEnkaTaramaNA – latAngi – rUpakam – pApanAsam sivan (OS)

3) nI irangAyenil – aTANA – Adi – pApanAsam sivan

4) tiruvazhundUr vAzh mAdhavA – danyAsi – misra cApu – pApanAsam sivan (ANS)

5) swAmikku sari evarE – kEdAragauLai – misra cApu – pApanAsam sivan (O)

6) shrInivAsa tava caraNau – kharaharapriyA – rUpakam – pApanAsam sivan (AST)

7) tAmarai malar tanil malarnda (viruttam) – shankarAbharaNam

mahAlakSmI jaganmAtA – shankarAbharaNam – misra cApu – pApanAsam sivan (O)

8 ) aDimaiyin uLLa kuDisaiyil ArAvamudan tOnrinAn (viruttam) – kApi

enna tavam seidanai – kApi – Adi – pApanAsam sivan (O)

9) rAmanai bhajithAl – mAnD – Adi – pApanAsam sivan

10) dhIm tana udAra diranA (tillAnA) – behAg – Adi – pApanAsam sivan

11) srI rAma jaya mangaLam (mangaLam) – suruTTi – Adi – pApanAsam sivan

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

It was one of those days when the whole of Chennai seemed to have landed at Narada Gana Sabha (NGS). All life on TTK Road just outside the sabha had almost come to a standstill. As I looked at the strong crowd that thronged the doors of the Satguru Gnanananda Hall (Main Hall), I wondered whether NGS had been chosen as a venue for the free TV distribution drive. Then I remembered reading in the morning papers that the Jaya TV Ragamalika show was celebrating its 200th episode in the Main Hall. I am amazed at Jaya TV’s and Maximum Media’s ability to to pull such huge crowds to whatever shows they conduct together (Margazhi Maha Utsavam, Jaya TV Pancharatna Kritis, Ragamalika etc). Apparently even Narada Gana Sabha’s secretary Sri Krishnaswamy, who was supposed to give a short speech before Vid Gurucharan’s concert at 6.30 PM, was not able to enter the premises (with his vehicle) from 6.05 PM till about 6.40PM (this was disclosed by Papanasam Sri Ashok Ramani later).

Vid Gurucharan’s concert was at the much smaller Mini Hall which was almost full when I walked in. Vid Gurucharan had by then started the concert and was singing his first number for the day “tuNai purindaruL“. Kalpana swarams were put at the pallavi line. Vid Nagai Sriram had already gotten into the act and whatever he played on the violin was so melodic and so very impressive. Kalpana swarams were put at “alarmEl mangai maNALA” in “venkaTaramaNA“, at “parivAi ranganAyaki …” in “tiruvazhundUr vAzh mAdhavA” and at “surEsha rAmadAsanuta” in “shrInivAsa tava charaNau“. Neraval was also done for the same line in the danyAsi kriti. Viruttam sung for song 7 was from the caraNam of Sri Sivan’s kalyANi composition “oru varam tandaruL“. Viruttam for song 8 was from the pallavi of the vasantA composition “aDimaiyin uLLa kuDisaiyil”. Taniavartanam was played in rUpaka tALam by Vid Tiruvarur Vaidyanathan and comprised the catusra and tisra naDais.

The choice of songs seemed very good. I came to know from one of my acquaintances that the theme of the concert was compositions of Sri Papansam Sivan on Lord Vishnu, Lord Rama and Goddess Lakshmi. Papanasam Sri Ashok Ramani announced just before the mangaLam that they had been holding such thematic concerts based on Sri Sivan’s compositions for quite some time now. He remarked that there were so many themes to draw upon from Sri Sivan’s works that even after conducting about 18 such different concerts, there were still an ample number left to be taken up in the future.

T.Rukmini & Amritha Murali @ STSVS, Chennai

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, Thiagarajapuram, Mylapore

Date: 19 June 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam

Violin Duet: Vid. T.Rukmini & Vid. Amritha Murali

Mrudangam: Vid. Pathri Satish Kumar

Ghatam: Vid. S.Karthick

Tambura: Vid. Vaidyanathan


List of songs:

1) ninnE kOri (varNam) – vasantA – Adi – tAchUr singArAcAri (O)

2) gam gaNapatE – hamsadhwani – Adi (tisra gati) – harikEsanallUr muthiAh bhAgavatar (OS)

3) bAgAyanayya – chandrajyOti – Adi – tyAgarAja

4) entamuddO – bindumAlini – Adi – tyAgarAja (A)

5) paramAtmuDu – vAgadIshwari – Adi – tyAgarAja (A)

6) nidhicAla sukhamA – kalyANi – misra cApu – tyAgarAja (AST)

7) sogasu jUda taramA nI – kannaDagauLa – rUpakam – tyAgarAja

8 ) kaddanuvAriki – tODi – Adi – tyAgarAja (ANST)

9) bArO krishnayyA – rAgamAlikA – Adi – kanakadAsa

10) tillAnA – dwijAvanti – Adi – lAlguDi g. jayarAman

11) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Veteran Vid T. Rukmini and her disciple Vid Amritha Murali presented a melodic treat to rasikas assembled at the Samajam. Their violins simply sang. Listening to them play was like listening to someone singing the songs, doing full justice to them all the while.

The concert started with the vasantA varnam “ninnE kOri“. The entire varNam was played in two speeds to some brilliant accompaniment by Vid Pathri Satish Kumar and Vid S. Karthick. Kalpana swarams were put in “gam gaNapatE” at the pallavi line, in “nidhicAla sukhamA” at “surapati tyAgarAja nutuni … ” and in “kaddanuvAriki” at “niddura nirAkarinci …. “. Neraval was also done for the same line in “kaddanuvAriki“.  Though all the songs were played beautifully taking an unhurried approach, I especially liked the “entamuddO” and “bArO krishnayyA” renditions. The mAND in “bArO krishnayyA” just seemed to flow so freely, captivating me totally.

Vid Satish Kumar, one of my favorites when it comes to accompaniment for songs, was brilliant as usual. He almost played the songs on the mrudangam. His anticipation skills were extraordinary. Calculations seemed to be constantly running in his mind as he chose at will, endings that fit well aesthetically for different places in the songs. His experience and intelligence just shone through in the way he superbly, yet effortlessly played for the songs.

Combine Vid Satish Kumar with ghatam vidwan S. Karthick and you get a adorable percussion team that just does wonders. Vid Karthick was again very impressive. The camaraderie was there to be seen. Both the percussionists kept appreciating each other from time to time. The taniavartanam they played was very enjoyable. Vid Satish Kumar ended it in his usual style by playing a kOrvai that fit well with the start of the portion of the song at which the taniavartanam had been given.

A thoroughly enjoyable concert indeed.

Sanjay Subrahmanyan @ STSVS, Chennai

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, Thiagarajapuram, Mylapore

Date: 18 June 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam

Vocal: Vid. Sanjay Subrahmanyan

Violin: Vid. Nagai Muralidharan

Mrudangam: Vid. Guruvayur Dorai

Khanjira: Vid. Neyveli B. Venkatesh


List of songs:

1) yOcanA – darbAr – Adi – tyAgarAja (OS)

2) rAmA ninnu namminA – mOhanam – Adi – tyAgarAja

3) nE pogaDakunTE – varALi – kanDa cApu – tyAgarAja (ANS)

4) adi kAdu bhajana manasA – yadukulakAmbOji – Adi – tyAgarAja (A)

5) nIkE teliyakapOtE – Anandabhairavi – Adi – tyAgarAja

6) sattalEni dinamulu vaccenA – nAgAnandini – Adi – tyAgarAja (AS)

7) nI daya rAvalegAka – tODi – Adi – tyAgarAja (AST)

8 ) vandanamu raghunandana – sahAnA – Adi – tyAgarAja

9) sAgaruNDu veDale nidO – yamunAkalyANi – rUpakam – tyAgarAja

10) rAmacandra nI daya – suruTTi – Adi – tyAgarAja (O)

11) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

How would a Carnatic musician feel if fans in Chennai – the “Mecca of Carnatic Music” eagerly await his/her performance almost every time it is scheduled to happen? What a feeling it would be if for him/her to see people of all ages assembled in large numbers, right from tiny tots to veteran rasikas to veteran artists themselves, just to hear him/her sing !!!! It is a privilege only very few chaste classical musicians enjoy and one among them is Vid Sanjay Subrahmanyan.

I don’t even remember when I last saw such a huge turnout at the Samajam. Rasikas came in large numbers in anticipation of a great concert and Vid Sanjay delivered, the way he does almost every single time he performs.

Vid Sanjay started what turned out to be an exclusive Tyagaraja kritis concert with a outline of the darbAr raga and was just about to finish it when the organizers at the Samajam, an institution run by musicians, suddenly remembered they had to announce the name of the artists of the evening and a few other minute details that they deemed very important. Once all these formalities got over, Vid Sanjay launched into a fast paced “yOcanA” to some explosive but good accompaniment by Vid Guruvayur Dorai with Vid Neyveli Venkatesh following Sri Dorai like his shadow. KalpanA swarams were put at the pallavi line. A very good rendition of “rAmA ninnu namminA” followed suit. A detailed raga alapana of varALi came next. The close to 4.5 minute alapana by Vid Sanjay was a treat to the ears, as was the one Vid Nagai Muralidharan played later. “nE pogaDakunTE” was sung with neraval and kalpana swarams at “nIraja nayana shrI tyAgarAjanuta ….” in the caraNam. There were some simple but intelligent patterns used at the beginning of the kalpana swaram itself like G M P ; M P D ; P D nIraja , G M P ; P ; M P D; D; P D N ; nIraja and G M P ; P ; P ; M P D; D; D; P D N; N; nIraja.

The other ragas chosen for elaboration were yadukulakAmbOji, nAgAnandini and tODi and each one of them was a pleasure to listen to. I have been hearing a lot of tODis in the recent past but Vid Sanjay’s tODi just stood out. It was a cut above the rest. Kalpana swarams were put in the nAgAnandini kriti at “sattalEni” and for the tODi kriti at “nI daya rAvalegAka”. If I recall correctly, Vid Sanjay seemed to hold his breath at “ru” of “palumAru” in the caraNam of the nAgAnandini kriti for about 3 avartanams while Vid Guruvayur Dorai played his ending three times. This drew a lot of applause from the audience. The kalpana swarams in tODi saw Vid Sanjay doing a misra koraippu with varieties. This culminated in a kOrvai which was announced by Vid Sanjay as having been originally put by flute vidwan Sri N. Ramani who was present in the audience. The kOrvai was sung three times and its structure each time was as follows:

————————————————————————————–

3; 3; 3; /5, 5, 5 = 32 aksharams i.e. within 1/2 Avartanam of Adi tALam – 2 kaLai in catusra gati

4 3; 4 3; 4 3; / 5;, 5;, 5 = 48 aksharams i.e. within 1/2 Avartanam of Adi tALam – 2 kaLai in tisra gati

4 4 3; 4 4 3; 4 4 3; / 5;;, 5;;, 5 = 64 aksharams i.e. within 1 Avartanam of Adi tALam – 2 kaLai in catusra gati

where,

  • ; = 2 aksharam kArvai/pause
  • , = 1 aksharam kArvai/pause
  • / = separator between pUrvAngam & uttarAngam

Total duration = 2 Avartanams of Adi tALam – 2 kaLai

————————————————————————————–

Taniavartanam was played for Adi tALam primarily in the catusra and tisra gati. During the first round of catusra gati, Vid Guruvayur Dorai also played a small portion in kanDa gati. The same was also played by Vid Neyveli Venkatesh when his turn came.

Vid Sanjay wrapped up this wonderful concert with “rAmacandra nI daya” in suruTTi followed by the traditional mangaLam in saurAshTram.

The Gods too seemed to be delighted to hear the concert and they seemed to be expressing their happiness in the form of rains that lashed the city after the concert got over.

S.Saketaraman @ Ramana Kendram, Chennai

Venue: Ramana Kendram, Alarmelmangapuram, Mylapore, Chennai

Date: 17 June 2007

Organizer: Ramana Kendram

Vocal: Vid. S. Saketaraman

Violin: Vid. Charumathi Raghuraman

Mrudangam: Vid. Trivandrum Balaji


List of songs:

1) mAl marugan (varNam) – hindOLam – Adi – tanjAvUr shankara iyer (O)

2) karuNAnidhiyE – bauLi – misra chApu – pApanAsam sivan (OS)

3) cintaya mA kanda mUlakandam – bhairavi – rUpakam – muthuswAmi dIkSitar (O)

4) kalyANa rAmA – hamsanAdam – Adi – UthukkADu venkaTasubbaiyer (ANS)

5) kanna taNDri nApai – dEvamanOhari – Adi – tyAgarAja

6) Emi jEsitE – tODi – misra chApu – tyAgarAja (ANST)

7) mAlOn maruganai manrADi maindanai & two other verses (viruttam) – sahAnA, shanmukhapriyA & behAg

muruganin marupeyar azhagu – behAg – kanDa cApu – sUrajAnandA

8 ) tAm tAm taka (tillAnA) – vAsanti – misra cApu – lAlguDi g. jayarAman

9) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Moorthi siridhaanalum keerthi peridhu (form might be small but fame is large)“. This is how the organizer introduced Vid Saketaraman. It is indeed surprising at times as to how a person with such a frail frame can produce such a strong voice !!

Vid Saketaraman started the concert with Sri Tanjavur Sankara Iyer’s beautiful varNam in hindOLam mAl marugan“. Sri Papanasam Sivan’s “karuNanidhiyE” was then rendered nicely with kalpanA swarams at the pallavi line. Vid Charumathi Raghuraman accompanied very well for this song playing in the lower octave for some of the lines and this I thought gelled very well with the vocal. The start of a bhairavi rAgA outline saw many people letting out loud gasps. “bhairavi for the third song itself?” seemed to be the question in everyone’s minds. But many looked satisfied when Vid Saketaraman chose “cintaya mA” and were found busily scanning the pages of their raga/kriti guides, searching for the song.

After bhairavi came the hamsanAdam alapana. hamsanAdam is a raga I like a lot (the modern version; not many sing the older version) and needless to say I thoroughly enjoyed the alapana by both the vocalist and the violinist. Every time someone starts singing a hamsanAdam alapana, my mind starts speculating “kalyANa rAmA“, though what ensues quite often is “baNTurIti“. This time however, I was rewarded when my favorite song in this raga “kalyANa rAmA” was actually taken up. It was a very neat and impressive rendition with neraval done for “rAghava raghurAma rAmA” and kalpanA swarams put alternatively at “rAghava” and “janakajA ramaNa“.

The main song was “Emi jEsitE” in tODi. Neraval was done for the anupallavi line “kAma mOha dAsulai .. ” and kalpana swarams were put at “shrI rAmuni“. A good taniAvartanam was played with an eDuppu of 0.5 beat before samam (for “shrI rAmuni“) by Vid Trivandrum Balaji.

Sri Lalgudi Jayaraman’s tillAnA in vAsanti and the traditional mangaLam brought the curtains down and saw Sri Saketaraman scurry off to catch the train back to Bangalore. His sister Vid Vishaka Hari was present listening to the entire concert. Such is the adulation audiences shower on her that most mamis present there flocked towards her after the concert got over making it a bit difficult for lesser mortals like me to find their way out. I left thanking heavens that her presence had not been announced in the morning papers beforehand.

Sikkil Gurucharan @ Lalitha Kala Vedika, Chennai

Venue: R.K. Swamy Auditorium, Mylapore, Chennai

Date: 15 June 2007

Organizer: Lalitha Kala Vedika

Vocal: Vid. Sikkil Gurucharan

Violin: Vid. Nagai Sriram

Mrudangam: Vid. Trivandrum Balaji

Ghatam: Vid. E.M. Subramaniam


List of songs:

1) vanajAkshi (varnam) – kalyANi – Adi – rAmanAthapuram srInivAsa iyengAr (O)

2) sarasa sAma dAna – kApinArAyaNi – Adi – tyAgarAja (OS)

3) mAyammA yani nE – Ahiri – Adi – syAma sAstri (O)

4) anudinamunu – bEgaDa – rUpakam – rAmanAtapuram srInivAsa iyengAr (ANS)

5) mOhanakara muthukumara – nItimati – rUpakam – kOTIshwara iyer (AS)

6) entamuddO – bindumAlini – Adi – thyAgarAja (O)

7) bhAvayE sArasanAbham – kIravANi – Adi – swAti tiruNAL (AST)

8 ) kSaNamadhunA nArAyaNam – valaji – Adi – jayadEva (O)

9) senthamizh nADenum – rAgamAlikA – Adi – subramaNya bhArati

10) chelinEnEtlu sahintunE (jAvaLi) – paras – Adi – paTTAbhirAmayyA

11) iyal isai (tiruppugazh) – dEsh – kanDa tripuTa – aruNagirinAthar

12) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

13) mangaLam kOsalEndrAya (shlOkam) – madyamAvati

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

R.K. Swamy Auditorium is one of the few auditoriums in the city where the sound amplification is often simply superb. I am sure this must be playing a pivotal role in the success of the concerts that are held there. Vid Sikkil Gurucharan’s concert too had a good mic setting though the amplification level was a bit higher than usual.

The concert started with the kalyANi varnam “vanajAkshi” which I am hearing after a long time now. A short sketch of kApinArAyaNi followed. Kalpana swarams in “sarasa sAma dAna” were sung at “hitavu mATalentO …..” . “mAyammA yani nE” was started with the anupallavi “nyAyamA shrI …” and was sung very well in a slow, moving way. The ragas taken for elaboration were bEgaDA and kIravANi and were dealt with very nicely by both Vid Gurucharan and Vid Nagai Sriram. Neraval and kalpana swarams were put in “anudinamunu” at “kanakanaruci nirupamu“. Kalpana swarams were put at the pallavi line itself for “bhAvayE sArasanAbham“, a kriti not sung that often in the concert circuit. Vid Trivandrum Balaji and Vid E.M. Subramaniam accompanied well for the songs.

“Sivaji – The BOSS”: Review

 

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The atmosphere outside the theater was electric. Fans were shouting “Thalaivar”, “Superstar”. Some had even bought milk from their homes and were doing “abhishekam” for the scores of cut-outs and posters of Rajinikanth that were within their reach. The movie was just starting as I entered and Rajini fans made a deafening noise as soon as the name of the movie came up on screen.

The story in brief: Sivaji (Rajinikanth) is a “Softuwear Shystem Architect” (that is what Rajini tells as his designation) who returns from where else but USA with a lot of money (I couldn’t understand how could be young and still one save about 250 crores working in the US software industry) and wants to use it to serve the poor and the needy. He is planning to start colleges and hospitals and provide free education and medical assistance. This doesn’t go well with the villain of the movie Adiseshan (Suman) , a powerful guy with deep pockets, who fears that this free education and medical care would seriously impact his own business. The corruption in the system also angers Sivaji who mouths the pleasantry “chit” in frustration (was meant to be “shit” I guess). By now you would have guessed that the movie is about how Rajini fights with the system and with Adiseshan to achieve what he desires. One sees Sivaji loose all his money, earn it all back, become the BOSS (Bachelor of Social Service ;-) ) and take revenge on all his enemies … just the way it happens in all Rajini movies. Watch the film for more.

Sivaji’s romantic interest – Tamilselvi, is played by Shriya. She looks too good whenever she appears on screen wearing traditional costumes. She is a quiet, homely, traditional girl during most part of the movie except in the songs where she changes into a glamor girl. As an aside, her website has her mother saying this as one of the reasons as to why she is able to maintain such a slim and gorgeous figure: “Do Yoga & Go to Jim on a regular basis”. Wonder who Jim is … lucky chap ;-)

Suman, who plays the villain Adiseshan, is very impressive. He speaks very less but impresses with his acting (or the lack of it). Rajini’s and Vivek’s comedy rocks. The way they try to enact scenes from other movies is just too good. Rajini even spoofs old Tamil actors while Vivek takes it out quite openly on comedy actor Vadivelu. The scene where they spoof Chandramukhi is a hilarious one. You have to watch it to enjoy the fun. One of the songs (the number “Athiradee” if I recall correctly) looks totally inspired by the movie Desperado. Rajini’s entry in this song is itself awesome. Shriya reminded me of the gorgeous Salma Hayek.

Being a die-hard fan of A.R. Rahman, I was a bit disappointed when I heard the songs just after they were released. The crappy lyrics of the songs didn’t help appreciate them in any way. But I knew they would kind of fall into place once I saw their videos because they would have been set keeping Rajini in mind and they indeed did.

The movie is unadulterated entertainment. The comedy element in the first half rules. The second half is totally stylish and a treat to all Rajini fans. Rajini is the epitome of style and Sivaji is probably his most stylish film till date. Rajini looks very young and like in his other movies has an amazing screen presence. The film is probably the best his fans could have asked for and they just went crazy whenever they saw him. They kept making noises throughout the movie. The guy sitting to my right during the first half seemed to have just lost it all. He jumped at least five feet in the air, hooted, clapped and laughed whenever Rajini spoke anything. And he would clap the loudest whenever he was about to land and that too right close to my right ear which had to bear the brunt of his madness. A child that sat to my left and looked about 4-5 years old also kept clapping and shouting whenever Rajini performed any stunt. There were people throwing up all sorts of things in the air. There were guys who were watching the movie for the second or third time though it was released only a day back. I am sure there would be people who would have watched it for more number of times already.

Overall the movie is certainly worth watching once. Like other Rajini movies, this one too is a total family entertainer.

Here are some comedy and punch dialogs I recall from the movie. The exact wordings might differ in some cases. The actual effect can be felt only when watching these delivered on screen.

Rajini:”Kadachavangala kattikardha vida pidichavangala kattinda thaan santhoshama irukkalaam”

Rajini:”Saagara naazh therinju pochu naa vaazhara naal naragam aayidum”

Rajini:”It’s a coincidence, daum (damn) it”

Rajini:”Kanna panneenga thaan koottama varum …. singam single-aa thaan varum”

This is how Vivek starts off his comedy in the movie: “They are the producers of Sivaji …. Sivaji appa, amma nu sonnen”

Shriya sings “Theeradha Vilayattu Pillai Kannan Theruvile Pengalukku Oyadha Thollai”. Vivek says: “Stop it. Ethana varushathukku thaan Kannane vilayaadindiruppan?”

Vivek picks up phone in a Police Station and says: “Indha station la ellarum out of station”

Vivek takes a look at Rajini’s color and remarks: “Partha paal kudichu valandavan madhiri theriyaliye …. decoction kudichu valandha madhiri na irukkan”. Rajini asks his mother:”Yen maa enna karuppa petha?” His mother replies: “Vellai aa irundha azhukku aayiduva nu thaan”

When Solomon Pappayya introduces his two daughters who are very dark in complexion: “Idhu Angavai, idhu Sangavai”. Vivek says: “Romba Pongavai-chuteenga polarukku”

Some snaps for your viewing pleasure:

Naan oru tharam nadandha nooru road-roller urunda maadhiri ;-)

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(Pictures courtesy: http://movies.sulekha.com )

Amritha Murali @ Naada Inbam, Chennai

Venue: Raga Sudha Hall, 85/2, Luz Avenue, Mylapore, Chennai

Date: 12 June 2007

Organizer: Naada Inbam

Vocal: Vid. Amritha Murali

Violin: Vid. R. Hemalatha

Mrudangam: Vid. Erode Nagaraj

Ghatam: Vid. N. Guruprasad


List of songs:

1) ninnE kOri (varnam) – kAnaDA – Adi – tiruvOTriyUr tyAgayyA (O)

2) shankaram abhirAmi – kamalAmanOhari (manOhari) – rUpakam – muthuswAmi dIkshitar (S)

3) bhuvinidAsuDanE – shrIranjani – Adi – tyAgarAja (ANS)

4) kAmAkSi – bilahari – Adi – muthsuwAmi dIkshitar (AS)

5) brOvavammA tAmasamElE – mAnji – misra chApu – syAma sAstri

6) nenarunchinAnu – mALavi – Adi – tyAgarAja

7) dAsharathI – tODi – Adi – tyAgarAja (ANST)

8 ) nArimaNi (jAvaLi) – khamAs – Adi – dharmapuri subbarAyar

9) sacidAnanda rUpAya vishvOtpatyAdi hetavE (viruttam) – rAgamAlikA

krishnA nI bEganE bArO – yamunA kalyANi – misra cApu – vyAsarAya

10) nADi thEDi (tiruppugazh) – bAgEswari – ** (see below) – aruNagirinAthar

11) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

** each Avartanam of tALam for tiruppugazh was put as two tisra cApus followed by tisra ekam

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Vid Amritha Murali is one artist who can always be banked upon to give a quality concert and this concert was no exception. She started the concert with a kAnaDA raga outline which led me to speculate on the possibility of hearing the kAnaDA aTa tALa varnam. Instead the kAnaDA Adi tALa varnam was sung beautifully in two speeds to some very good accompaniment from Vid Erode Nagaraj on the mrudangam. Then came “shankaram abhirAmi” – a song I heard for the first time from one of Vid Balaji Shankar’s audio releases. (The tape in that audio cassette had worn down because of my listening to the song so many times) Vid Amritha sang this song well and followed it up with exciting rounds of kalpanA swarams. All the other songs were rendered well too. Special mention must be made of “brOvavammA” and “krishnA nI bEganE” which were also embellished with some very good accompaniment especially from the percussion department.

Vid Hemalatha accompanied well on the violin. Vid Erode Nagaraj and Vid N. Guruprasad played taniavartanam in Adi tALam in catusra and tisra naDais for eDuppu of 0.5 beat before samam at “prakAshimpa jEsina rasika shirOmaNi” in the tODi kriti “dAsharathI“.

T.V. Gopalakrishnan @ TTD Information Center, Chennai

Venue: TTD Information Center, Venkatanarayana Road, T. Nagar, Chennai

Date: 11 June 2007

Organizer: TTD Information Center

Vocal: Vid T.V. Gopalakrishnan (TVG)

Violin: Vid S. Varadarajan

Mrudangam: Vid T.V. Vasan

Ghatam: Vid V. Suresh

List of songs:

1) Om sahana vavatu (shLokam) – sAvEri

2) sarasUDa (varnam) – sAvEri – Adi – kothavAsal venkaTrAma iyer (A)

3) girirAja sutA – bangALa – Adi – tyAgarAja (AS)

4) hiraNmayIm – lalitA – rUpakam – muthuswAmi dIkSitar (A)

5) mAtA manam – pUrvikalyANi – misra cApu – nAdOpAsanA srInivAsan (?) (ANS)

6) chinnanADena – kalAnidhi – Adi – thyAgarAja (AS)

7) venkaTashaila – hamIrkalyANi – Adi – subbarAya sAstri (AST)

8 ) centanE sadA – kuntalavarALi – Adi – tyAgarAja (O)

9) cEtashri – dwijAvanti – rUpakam – muthuswAmi dIkshitar (A)

10) pArvai onrE pOdumE – bhImpLAs – Adi – UthukkAdu venkaTa subbaiyer

11) agrE pashyAmi tEjO (shLokam) – nIlAmbari

mAdhava mAmava dEvA – nIlAmbari – Adi – nArAyaNa tIrthar

12) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

13) mangaLam kOsalEndrAya (slOkam) - madyamAvati

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

It was TVG’s 75th birthday and he appeared quite excited and emotional about it. He started the concert by saying that he has been doing service to music since he was 3-4 years old and talked for a few minutes about his musical journey. He announced that he will primarily sing perumAL kritis as Tirupati perumAL is his kuladeivam. He also said that he had been to Tirupati early in the morning for the 3.30 AM Suprabhata Sevai.

TVG started the concert with the shLOkam “Om sahana vavatu sahanau bhunaktu, sahavIryam karavAvahai, tejas vinAvati tamastumA vidhvishAvahai, Om shAnti shAnti shAntihi” in the raga sAvEri. He then sang the sAvEri varnam “sarasUDa” to some very good accompaniment from the other accomplished artists on stage, who all incidentally are his students. The second sangati in the next song “girirAja sutA tanayA” saw him suddenly jump from shaDjam to pancamam of the lower octave at “yA” of “tanayA“. I think he sang the word “tanayA” as “R S P(lower)”. Kalpana swarams were put at the pallavi line. “hiraNmayIm” was started from the anupallavi “ciratara sampatpradAm …. “. Sri T.V. Vasan and Sri V. Suresh started playing only when “harivakSasthalAlayAm hariNIm caraNakisalayAm” started. They seemed beautify the portion “ciratara sampatpradAm kSIrAmbudhi tanayAm” by allowing just the vocal and violin to sing/play it without any percussive support.

TVG announced that pUrvikalyANi is a raga he likes a lot but won’t be able to elaborate much due to time constraints. The kriti he sang in this raga sounded very nice. It seemed to go very well with the misra cApu tALam it was based in. One of the portions I liked a lot in this song was I think in the anupallavi where TVG sang the words “vEdavalliyE” repeatedly using different kinds of fast traversal of the swaras. I think one of the patterns he used was a lightning fast “N R G M P M G R S N“.

The “hamIrkalyANi” alapana saw TVG displaying the full range of his voice. Towards the end of the alapana, TVG went till the pancamam (called anumandara pancamam) which is two octaves lower than the normal octave pancamam. He stayed there for some time and then gradualy came up till the shaDjam (called atithAra sthAyi shaDjam) that is one octave above the upper shaDjam of the normal octave. A somewhat short but sweet taniavartanam was played for the hamIrkalyANi kriti in the catusra and tisra naDais.

Sri Varadarajan was at his usual best conquering the mind of rasikas with his melodious playing. Sri Vasan played quite well. Wonder why he doesn’t play mrudangam accompaniment for concerts regularly (he usually plays the ghatam). Sri Suresh was impressive as usual.

Sri P.S. Narayanaswami (PSN) and Sri Sirkazhi Sivachidambaram spoke about TVG and his contribution to music. Sri PSN presented TVG with a shawl and reminisced the days when he used to go to TVG’s house to practice. An interesting anecdote told by PSN was that TVG was one of the first musicians in his circle to buy a car, though he spent most of the time under the car than inside it :-)

Baarish ki pehli boonden

Saying it rained in Chennai is like saying Federer beat Nadal on clay. It is so rare that it gives a lot of happiness whenever it happens.

It must have been about half past four in the morning (don’t ask me what I was doing at that unearthly hour). There was a strange calm all around when all of a sudden I thought I heard the sound of water droplets falling. When I rushed to the balcony, the first drops of rain falling there greeted me. What an experience !! The smell of rain …. the lovely cool breeze ….. silence all around except for the sound of rain droplets striking the ground … heavenly. Just felt like hearing Dr. N. Rajam playing “Miya ki Malhar” sitting there in the balcony watching the rain drops fall. One look at people sleeping at home made me drop the idea, lest I get excommunicated.

7.00AM – I started from home for office. The road outside my place had turned into a lake and it took me about 5 minutes to get across it. There was chaos all around. The music had changed from Dr. N. Rajam playing “Miya ki Malhar” to Anu Malik crying “Dekho Baarish Ho Rahi Hai … it’s raining … it’s raining .. it’s raining“.

N. Ravikiran @ Nadabrahmam, Chennai

Venue: Bharatiya Vidya Bhavan Main Hall, East Mada St., Mylapore, Chennai

Date: 09 June 2007

Organizer: Nadabrahmam Music Journal

Chitravina: Vid N. Ravikiran

Violin: Vid M.A. Sundaresan

Mrudangam: Vid Umayalpuram K. Sivaraman

Khanjira: Vid B. Sreesundarkumar

List of songs:

1) sAmi ninnE (varnam) – pantuvarALi – Adi – shaTkala narasayyA (O)

2) tatvamariya taramA – rItigowLa – Adi – pApanAsam sivan (S)

3) sItammA mAyammA – vasantA – rUpakam – tyAgarAja (ANS)

4) nI dayacE – yadukulakAmbOji – Adi – tyAgarAja (A)

5) banTurIti – hamsanAdam – Adi – tyAgarAja

6) pArvai onrE pOdumE – suruTTi – Adi – UthukkAdu venkaTa subbaiyer (AST)

7) smara sundarAnguni (jAvaLi) – paras – Adi – dharmapuri subbarAyar

8 ) tharayin mAnuDar (tiruppugazh) – nIlAmbari – Adi – aruNagirinAthar

9) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

I wouldn’t hesitate to say that today’s was one of the best concerts I have attended in the last 2-3 months. What else can one expect when such a team gets together to perform? The artists, masters in their fields, were just brilliant. The way they cohesed as a team and took the concert to a different level altogether is something every performer and every rasika present should have got inspired from.

The concert that lasted less than 2 hours in all started with the pantuvarALi varnam “sAmi ninnE” which was played in two speeds. Then came Sri Papanasam Sivan’s “tatvamariya taramA“. The genius in Sri Ravikiran just shone through in the way he played this song. It was exactly as though someone was sitting there and singing the song in its full glory. Kalpana swarams were put at the pallavi line. I have read at many places that Sri Palghat Mani Iyer just used to lift the level of a song by his accopaniment. I was not fortunate to be born in his period to hear him live and have been only able to hear him through recordings. I feel that if there are a few people today who can truly lift the level of a concert by their accompaniment, Sri Umayalpuram K. Sivaraman is surely one of them, if not the only one. The way he accompanied for this song is commendable. What amazing tonal clarity. What choice of sollus to go along with different parts of the song. What a fertile imagination !!!!! I cannot do anything but salute his genius.

The third song was “sItamma mAyamma” which followed a short alapana of vasantA by Sri Ravikiran. Again Sri Ravikiran just brought the song alive in front of me with very good accompaniment from the team. Neraval was done and kalpana swarams were put at “paramEsha vashiSTa parAshara nArada shaunaka shuka“. Both Sri Ravikiran and Sri M.A. Sundaresan were very good here. During the last round of kalpana swarams, Sri M.A. Sundaresan and Sri Umayalpuram Sivaraman stole the show by playing patterns alternatively and then joining together to finish off with a simple but elegant kOrvai.

Before the next song began, Sri Ravikiran announced that the anupallavi has a reference to “nAdabrahmA” (nAda brahmAnanda rasAkriti gala) and connects well with the organizing music journal. He said he chose the song as he felt it would be appropriate for the anniversary celebrations of the journal. The yadukulakAmbOji alapanas on both the chitravINA as well as the violin were again melodious treat to the ears. When the caraNam started, the line “vara mrudu bhASa susvara maya bhUSa” was played in the lower octave by both Sri Ravikiran and Sri Sundaresan. Sri Sivaraman pecked the left side of the mridangam so beautifully while this was on and it just seemed like there couldn’t have been a better way to play for the lower octave rendition of this line. It looked all the more great as it came after a 32 aksharam ending he played at the end of the anupallavi which had some very good use of ghumukhis and was in contrast to the slow start of the caraNam line.

A fast paced “banTurIti” followed suit. The word “viyavaiyya” from the pallavi line was played on the chitravINA in one of the sangatIs with four rishabams from the upper octave and this sounded really good.

After “banTurIti“, Sri Ravikiran played “ni pa” once or twice and “ma pa” once before proceeding to adjust the shruti. I was just sitting at the edge of my seat waiting to hear the first few notes/patterns that would reveal what the main raga of the day would be … and the first phrase brought a huge smile on my face. It was suruTTi, one of my favorite ragas. The 10.5 minute raga alapana that followed on the chitravINa was just superb. That was not all. Sri Sundaresan then started his version of the alapana and just held me spellbound. His start rhymed with “shrI venkaTagirIsham AlOkayE” and that itself was enough to bowl me over. While I was thinking whether a tAnam would follow and was praying God that a big detailed kriti be taken up subsequently, Sri Ravikiran started playing “pArvai onrE pOdumE“. This is the first time I am hearing him play this kriti and the first time I am hearing this kriti being played slowly. You would just have to hear Sri Ravikiran play to appreciate how much better the kriti sounds at a slower speed. In my humble opinion, a much better grip is got on the raga this way by the artist and more time is given to the rasikas to appreciate the lyrical as well as the melodic beauty. Kalpana swarams were put at the pallavi line to some very good accompaniment by Sri Sivaraman and Sri Sreesundarkumar. This was followed by the taniavartanam and what a taniavartanam it was !!!! A live lesson for any percussion enthusiasts assembled there. It was a typical Sri Sivaraman style taniavartanam that had elements that could be appreciated by almost everyone. If the tonal quality, the perfection in the sollus and the ringing “aRai chAppu” were enough to take casual listeners to the seventh heaven, the complex patterns played with such perfection, clarity and ease could bring any knowledgeable percussionist into submission. What beautiful “chAppu“s and “aRai chAppu“s were there !!!! You have to listen to them to experience them. Words fall short of describing them. I can just say that I have not heard such clear, ringing “aRai chAppu” from anyone else’s hands till now. Sri Sreesundarkumar was also very very impressive. He negotiated fast phrases with unbelievable ease.

A moving rendition of the jAvaLi “smara sundarAnguni” followed the taniavartanam with Sri Umayalpuram Sivaraman starting off with Sri Kumbakonam Azhaginambia Pillai style fast paced “tha ka dhi na“s played by cutting the dhi. Whenever the special prati madhyamam (which I think was introduced to Paras by Smt. T. Mukta) came, Sri Sivaraman would play a vibrating “dhi” with special effects on the left side and it would sound perfectly in sync with the prati madhyamam. A tiruppugazh in nIlAmbari and the traditional mangaLam in saurAshTram brought the curtains down.

Sri Ravikiran said during a lec-dem by Smt. Rama Ravi during last December season: “Our brain is like a microscope. The more knowledge we gain in an area, the more sharper our brain and the more details we are able to observe and appreciate“. Attending such concerts just keeps reminding me of how true this is, of how much more there is to be learnt about the seemingly boundless ocean that Carnatic music is and how every bit of additional learning helps appreciate the nuances even more.

Rama Ravi @ PSP Gurupuja Day, Chennai

Venue: Narada Gana Sabha Mini Hall, TTK Road, Chennai

Date: 08 June 2007

Occasion: Sri Palani Subramaniam Pillai Gurupuja Day

Vocal: Vid Rama Ravi

Vocal Support: Vid Nandita Ravi

Violin: Vid M.R. Gopinath

Mrudangam: Vid Thanjavur Subramaniam


List of songs:

1) graha balam Emi – rEvagupti – Adi – tyAgarAja

2) manasu karuga – hamsadhwani – rUpakam – paTTaNam subramaNya iyer (S)

3) paripAhimAm shrI dAsharatE – shubapantuvarALi – Adi – mysore vAsudEvAcAr (NS)

4) kAppaduvE unadu bhAram – Anandabhairavi – rUpakam – vaDivElu (A)

5) paripUrNa kAma – pUrvikalyANi – rUpakam – tyAgarAja (ANS)

6) saundara rAjam – brindAvana sArangA – tisra Ekam (2 kaLai) – muthuswAmi dIkshitar

7) ninnE nammi nAnu – tODi – misra cApu – shyAma sAstri (ANST)

8 ) nArimaNi (jAvaLi) – khamAs – Adi – dharmapuri subbarAyar

9) padari varugudu (padam) – kAmbOji – tisra Ekam (2 kaLai) – vaidIshwarankoil subbarAmayyar

10) vandE mAtaram ambikAm bhagavati (viruttam) – sAvEri, kalyANi, madyamAvati

11) uruvAi aruvAi (tiruppugazh) – madyamAvati – kanDa cApu – aruNagirinAthar

12) karpagamE – madyamAvati – Adi – pApanAsam sivan

13) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – tyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

I couldn’t have probably asked for a better start to this concert. “graha balam Emi“, the way it was sung by Vid Rama Ravi, sounded just perfect and served as an indicator of the quality concert that was in store for the rasikas. I could just go ga-ga about whatever Vid Rama Ravi sang. The kriti renditions that completely floored me were “graha balam Emi” and “saundara rAjam“, which is one of my personal favorites.

Vid M.R. Gopinath accompanied well on the violin. Vid. Tanjore Subramaniam’s mrudangam playing was filled with copious amount of “arai chAppus“. Taniavartanam had the chatusra and tisra naDais.

This was one concert where musicians themselves formed about half of the assembled audience. Many of them also participated in the individual short performances that were scheduled before the concert began.

Rasikas got nice food for their stomach too, apart from their ears, in the form of prasadam that was given after the concert got over.

Omnipresent

He is everywhere ….. on TV screens, on billboards … even on MTC buses. No, I am not referring to Prakashraj, who seems to be having a monopoly in endorsements these days. The fact that he doesn’t fit into small billboards makes us feel his presence even more. For the first time there seems to be someone who can challenge Prakashraj’s (seen those ‘Krd Rys’ ads?) and Sudha Ragunathan’s (Pothys) presence on the Chennai roadside hoardings. He is our very own ‘Sivaji’ – Superstar Rajnikanth.

Here is ‘Sivaji’ on a MTC bus:

Sivaji

Neyveli Santhanagopalan @ Asthika Samajam, Chennai

Venue: Amarabharati, 12, West Tank St., Tiruvanmiyur, Chennai

Date: 01 June 2007

Organizer: Asthika Samajam, Tiruvanmiyur

Vocal: Vid Neyveli Santhanagopalan

Violin: Vid M.A. Sundaresan

Mrudangam: Vid Tiruvarur Bhaktavatsalam

Ghatam: Vid V. Suresh

List of songs:

1) rAmA nI pai – kEdAram – Adi – thyAgarAja (S)

2) teliyalEru – dhEnukA – Adi – thyAgarAja (AS)

3) guruvaru mahimala – Anandabhairavi – Adi – wAlAjApET venkaTaraMaNa bhAgavathar (O)

4) bhajana sEyavE – kalyANi – rUpakam – thyAgarAja (ANS)

5) vinatA suta – jayantasEnA – Adi – thyAgarAja (AS)

6) nIvADa nEgAna – sAranga – kanda chApu – thyAgarAja (ONS)

7) rAmA kathA – madyamAvati – Adi – thyAgarAja (ANST)

8 ) haridAsulu – yamunAkalyANi – Adi – tyAgarAja

9) apakAra nindai (tiruppugazh) – chakravAham – kanDa jampai – aruNagirinAtar

10) nI nAma rUpa mulaku (mangaLam) – sowrAshTram – Adi – thyAgarAja

11) kAvEri tIra vAsAya (slOkam) – madyamAvati

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Sri Neyveli Santhanagopalan presented a nice concert with an experienced team of accompanists. dhEnukA, jayantasEnA and madyamAvati alapanas were especially good. The amazing artist Sri M.A. Sundaresan provided very good accompaniment on the violin. His individual raga essays were very melodious as well. If I remember correctly, the entire taniavartanam was in tisra naDai – two initial extended portions followed by koraippu, mOrA and kOrvai.