Smt.Vijayalakshmy Subramaniam concert @RamarKovil 30-Apr2011

[Sundarnrao]

There could have not been any better deific-ether other than Ramar Kovil (tambaram) for today’s rapturing rhapsody by Smt.VS.

Right at the time of tuning her tanpura, Smt.VS was on the eternal-quest with her stentorian voice that was about to blend with the dignity of her demeanor to Lord Ram. Her first presentation on mohanam called “rama nammina ninu” was wholly assenting with her meditative devout of pleading “Rama, do we not always depend entirely on you?, you who have the entire creation under your spell; Always come and protect me” (rough meaning of the pallavi that was apt to produce her classicism). Right from the first phrase of ‘ G P D S’(I'm referring to her alaap phrase here and not the melodic structure of the song), her raga, rasa and swara was such a delight all through her rendition. She had a great stroke on the manodharma attributes and effervesced prolific colors that matched her pensive inspiration at the quadrangle of the temple.

After such a resilient presentation of mohanam came a high spirited presentation of vasantha through “seethamma mayamma, sri ramudu ma tandri”. After many years, I was fortunate to witness marvelous and inimitable modernism of vasantha colors during her scrupulous alaapchari. She then persisted holiness by evoking phenomenal emotions on the song that also set the mood that “ Sita devi is my mother and shri rama is my father …” I refresh a famous saying by actor-mastero prithviraj Kapoor (father of Raj kapoor for wider benefit of audience) that, “ Omkarnath thakur’s performance should not be heard, but be seen to relish expression,emotions and devotions produced through kaaku-prayog (voice modulations), hastachalan (hand movements) and mukhamudras (facial expressions)” – Smt. VS’s theology was so highly charged in this song that people watching live would have attained 7th-heaven all along . Her wide tonal range was visible through G(lower register) through D (upper register) with full command and control.
Her third presentation eppadi manam on useni was also a master-stroke with a systematic elaboration of raga through arty whims. So was the brisky janaranjani production through vitaja lathura.

Marivere on shanmukhapriya was yet leonine grandeur that spotted highest musical caliber filled with exceptional manodharma and an orthodox lineage on plodding development of the raga with innate glamour. There would not have been a single dry-eye in the quadrangle of the ramar temple and I would not be surprised if Lord Shri Ram was also omnipresent with her divine calling for Rama ( rough translation on pallavi for readers benefit “besides you, who will save me, Rama? how many times need I tell you?”)

Added to the charm was kandena govindana rendered in a very solid chandrakauns. Hearing her spell on chandrakauns makes me strongly believe her deep influence on ustad-faiyaz-khan sahib of agra gharana. Some of her unique colors also connoted other Agra-gharana projections of chandrakauns including Ustad Vilayat khan, Ustad sharafat hussain khan sahib, Ustad khadim hussain khan sahib etc.

Her next presentation on maand “kovil sella vendam” added extra beauty as part of climax. I was able to observe and absorb new maand colors from Smt. VS. Some of her traces were much colorful than rajasthani-mand or Kashmiri-mand or dogri-maand. Ideas were literally oozing from the first second. Her colors had a global appeal to forge instant attraction for non-classical rasikas and It was visible when many people froze to listen to this rendition. Smt. VS then finished her royal concert with a stylish mangalam.

Accompanists also had a ball and built a great symbiosis for smt.VS. It was a pleasure to watch their solo-components also.

One of the organizer duly recalled chronicle of her past concerts with supreme memory and wished her more fame & recognition (including her trajectory for bharat ratna) that she strongly deserves for her dedication, mastery, knowledge, professionalism and cerebral capabilities on music and for the strongest promotion of this art. May the omnipresent Lord Ram bestow his blessings and grants to give smt.VS more success, reward, recognition and energy to practice, perform, profess and promote this great art of india.

[vs_manjunath]

Thanks for this review.
Am looking fwd to hearing her live on 05 May @ Ramanavami Concert, Fort High School B'lore.

[srikant1987]

If the mOhanam krti is the 1.5-eDuppu krti of Thyagarajaswamy's (beginning roughly with {g}dpgri,sda,sa,rg...), it is rAma ninnu namminA.

Accompanists also had a ball and built a great symbiosis for smt.VS. It was a pleasure to watch their solo-components also.

Who accompanied Smt VS in this concert?

[Sundarnrao]

Dear VS Manjunath sir - Glad to note about May 5th concert by smt.VS at Bangalore. I'm sure you will experience and attain eternal bliss with her impactful, soulful & godhood concert filled with chivalric devotion, classicism and chastity. May you cherish that concert for many decades. Wishes and prayers for your happy listening. Please do post your gallant experience of that concert when you get a chance.

Dear Srikant Sir - I was alluding to the alaap sketches prior to the rendition of her song "rama nammina" where she glazed "gpds-ps d - pgr gpd pgrs- srgpds - ds pd - gpd gdp rog sgr srs -pgpdsd ..etc" ( based on my memory refresh on her mind-blowing sketches). It was indeed a very breezy start that left a deep impact to all rasikas including me. Smt.VS was accompanied by Usha Rajagopalan on violin and a famous mridangist (forgot his name; have seen him featured many times in jaya TV's sa ri ga ma pa conducted by Shri. Neyveli Santhana Gopalan; have also seen him perform with other popular artists in the CM industry). Will get you his name soon.

[sagars]

was it at the Rama Kovil at Tambaram Sanatorium in the highway?

[Sundarnrao]

Dear SagarS, I'm not sure about your landmark. The concert took place in ramar kovil at selaiyur closer to camp-road junction (approach was: two blocks from nilgris was a pandal serving as a facade to a road).

[harimau]

After many years, I was fortunate to witness marvelous and inimitable modernism of vasantha colors during her scrupulous alaapchari.

"Alaap Chari": now that is a nice name for an Iyengar!

Why not someone of the Vaishnavite persuasion name his/her kid Alaap ala Pallavi, Sangeetha, etc.? ]

[Sundarnrao]

Dear Srikant1987 sir - B. Ganapathyram is the mridangist.

[srikant1987]

Sundarnrao sir, thank you for letting us know the accompanists. And don't call me sir.

[mohan]

If the mOhanam krti is the 1.5-eDuppu krti of Thyagarajaswamy's (beginning roughly with {g}dpgri,sda,sa,rg...), it is rAma ninnu namminA.

srikant - rama ninnu nammina has a samam eduppu for the pallavi and caranam and starts at arai-edum for anupallavi.