BOMBAY JAYASHREE - HNBHASKAR - MANOJ SIVA-ANIRUDH ATHREYA- B

[Babu]

I am posting this review with Sri. G.R.Ragunatha Rao's permission. He posted this review in "Sangeethapriya-yahoogroup".

Boston Concert

MUSIC REVIEW
G R Raghunatha Rao

In her concert at Andover Bombay Jayashree regaled the music enthusiasts gathered in large number, at the Chinmaya Mission, Maruyi Mandir Auditorium on Friday the 18th June 2010.

Bombay Jayashree gave a sumptuous fare, which was well responded by the audience.

Bombay Jayashree always seems to maintain a certain uncompromising standard for her concerts.
From the beginning to the end, the tempo never sagged.

With a short AlApana in "Reetigowla" she began with : Papanasam Sivan's. Tatvamaria Tarama , set to Adi Tala. ..A beautiful Raaga for devotion, it flows like anything and great rendition ... eyes close automatically

After this, the song list anchored first in the Raga Dwijawanti

"AkhilaanDeshwari" in Dwijawanti . Jayshree held audiences spellbound with mere kriti renditions without any raga-alapana or kalpana-swaras. The core of Carnatic music being the use of 'anuswaras' (minute notes) and 'gamakas' (musical ornamentations) and subtle nuances and one could see these two in her Dwijawanti

"Sujanjevana "of saint Tyagaraja in Kamach, was rendered in exhilarating mood..

The characteristics of "VaraLi" were brought out in the neraval and swaras for
" Shyame Shankari Digvijaya Pratapini "' of . Dikshita's "Mamava Meenakshi Raaja Maatangi" in Misra Chapu.
One could observe minutely that the 'Sangatis' (musical phrases) were in conformity with the lakshana (grammar) of the raga.
All the secrets of music's beauty locked up in ragas and kirtanas wait to be brought out by the performer, the nature of voice of course playing a significant role. If this ought to be the central objective and the summit of aspirations, the effort by Bombay Jayashree was noteworthy

"Bhajare Re Manasa" in Abheri of Mysore Vasudevachar was short and well renderd.

Of late , KeeravaaNi has become as one of the most commonly heard ragas on the Carnatic music concert stage.
Hence it is not easy to make an instant appeal. But when a seasoned and exceptionally talented artiste like Jayashree renders it, the raga attains a bright colour and flavour
The "KeeravaaNi" alapana was delightful . She sang Thyagaraj's " Kaligiyunte i and neraval in
"Kaliniyingitha Merugaka Ninnaadu Konti" + the swara exciting. Further This piece brought nostalgic memories in old timers.

Then came Sri Puranadara dasa's " Sakala Graha bala neene" in AThaaNa

The highlight of the concert was Ragaalapaana in Mohana KalyaNi followed by Swaraprasthara.
The audience enjoyed rendering by her, further in ragas Kapi, ,Hamsanandi- Bageshri and Revati., the pallavi in Tamil "vadivel muruga..." as well as swaras also

The post `tani' compositions consists of `KriShNa Nee Begane" of Sri Vyaarayaru in Yaman ', Jayadevas "Natha Hare" and a "tillana" in Behag .

Her impeccable mastery and virtuosity in maintaining sruthi and laya playing the Tamboora for herself for 3 hrs 15 mts , exhibits her extraordinary control over Shruti,Laya, voice and Manodharma, as well.

The experience gained by frequent presence as an accompanist has conferred its reward on H N BHASKAR (violin) to bring his artistry close to the style of the main artist with flashes of raga sancharas in his solo.
Manoj shiva (mridangam) presented himself as one whose talent is backed by discriminating percussive support while playing for kirtanas. He never lost the focus of the role of laya-intense and rippling in his thani. No doubt also Aniruddha on Khanjeera too.

In total it was a pleasant concert.

G R Raghunatha Rao
Musician ,Bangalore