Carnatic Music does not stop with Chennai metro. It extends into various parts of TN, AP and Karnataka and many good vidwans and vidushis with exceptional talent and sound classicism, still emerge from these places.
Manda Sudharani from Vizag is one such example of an exemplary talent.
One may not credit her with an exceptionally "attractive" voice, but she has a voice with depth and can traverse great speeds and flash lightning brighas, at the same time being able to sing vilamba kalam also with equal melody.
Sharavana Bhava in Pasupatipriya was sung in lightning speed and not one step missed! It sounded like a continuous cracker firework.
Her four raga pallavi, in the lines of the Ariyakudi pallavi, set in Shankarabharanam, Kalyani, Valaji and Kaanada, stands testimony to her musical mastery and her dedication to the art.
Set in adi tala , two kalais, the lines were "Sankarabharana veni, Kamala nayana Kalyani,Valachi vacchi na ramani, Kaanada rasikamani " was an aural treat. With tremendous ease she traversed all the four ragas and did all the workmanship , a standard RTP demands.
Not one bit of glamour, not one bit of unwanted showmanship! All she brought to the stage was her learning and her command over her art, with confidence and modesty at the same time. A soulful Parulanamata and BMK's lilting Brindavani tillana brought the curtains down.
Dr.Narmada on the violin was both melody and mastery personified. She was so quick and brought out refined and imaginative phrases and swaras on her bow.
VV.Ramanamurthy on the mridangam and N.Somayajulu on the ghatam, were pillars of strength on the percussion instruments and played a mind blowing thani avartanam.
Two things are clear from this :
1. Endaro mahanubhavulu , andhariki vandhanamu
2. Mastery over tala , laya and music is not the preserve of only a few males in the Carnatic community.
Manda Sudharani: Music Academy 31.12.09
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vsarmaiitm
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Smt. Sudharani is from Vishakapatnam / Vizag.
Could someone post the list please !
Could someone post the list please !
Last edited by vsarmaiitm on 31 Dec 2009, 21:17, edited 1 time in total.
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balusatya
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* Bhogindrasayinam - ST.How about her new approach in better presentation of sahitya -four equally placed sahitya phrases in chatusram- She also explained what made her to deviate (She was bavyam enough to plead excuse if the deviation is not acceptable!).Someone competent (who had attended) to explain .Sivapriya!Were u not there @that time?.
*Her body language indicated how she admired&respected the accompaniments esp.Dr.Narmada.
*Really admired her way singing swaras progreesively sankarabaranam,kalyani,Valaji&kanada and the process of reversal&kuraippu so difficult but she made it look easy.esp.switching over from Kalyani to Valaji.Equally so was the vidwat of Narmada.
*Her body language indicated how she admired&respected the accompaniments esp.Dr.Narmada.
*Really admired her way singing swaras progreesively sankarabaranam,kalyani,Valaji&kanada and the process of reversal&kuraippu so difficult but she made it look easy.esp.switching over from Kalyani to Valaji.Equally so was the vidwat of Narmada.
Last edited by balusatya on 31 Dec 2009, 21:35, edited 1 time in total.
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rshankar
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The words to this very lyrical catur-rAgamAlika pallavi make so much more sense than the the original one which could be mistaken for a request for the lady (a snake charmer, perhaps?) to bring a snake (adisEsha who adorns Siva) to the court! 
(Of course, since sOman is also an adornment of Siva, SankarAbharaNan could mean the moon as well!)
(Of course, since sOman is also an adornment of Siva, SankarAbharaNan could mean the moon as well!)
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eesha
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1) Sri Jaalanthara, Gambheera Naatai, Aadivsarmaiitm wrote:Smt. Sudharani is from Vishakapatnam / Vizag.
Could someone post the list please !
2) Raamabhakthi, Suddha Bangala, Aadi
3) Neerajakshi, Hindolam, Roopakam
4) Bhogindra Saayinam, Kuntala Varali, K.Chapu
5) Dorakuna, Bilahari, Aadi
6) Saravana bhava , Pasupathipriya, Aadi
7) RTP in Sankarabharanam, Kalyani, Valji, Kaanada in Aadi thalam, 2 kalai
8) Parulana Maata, Kaapi, Roopakam
A great concert. Not a single dull moment. Very informative too. Items 3 and 7 kept me at the edge of the seat.
Item 3 was taken in such a tempo, it was neither 1st tempo nor 2nd tempo (irandum kettaan kaalam) but in between. As a result, the fast swaraprastharas were much faster than the usual 2nd speed that we hear. Well, this would have been OK to sing and accompany on the violin had it been a raga such as mohanam or hamsadwani. But not with Hindolam which is a more difficult ragam. Sudharani and Dr Narmadha handled this part in a flawless manner. Vocalist's earlier handling of Hindolam raga alapana was top class. Needless to say that Dr Narmadha's response were very crisp and was of superior quality, the raga being Parur family's forte.
Another notable item was the RTP. It was in 2 kalai and spread over 2 thalams (32 aksharas). Sudharani did alapana in stages , starting with Sankarabharanam ending with Kaanada, taking turns with Dr. Narmadha. The thanam was done in reverse order, - started with Kaanada and ended in Sankarabharanam.
Sudharani's effortless switching of ragas during swaras and prompt reply by the violonist were sheer delight. Her lower sruthi, propensity to take risks , brugas and effortless raga switching all reminded me of MLV, though the styles are very different.
VV.Ramanamurthy on the mridangam and N.Somayajulu on the ghatam gave admirable support.
On the whole a very very satisfying concert. Those who attended the concert were fortunate.
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sivapriya
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laks1972
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