Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
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Vocal : Bharathi Ramasubban
Violin : Dr Narmadha
Mrudangam : Arjun Ganesh
Concert Type : Nirvana - No concert to follow ,Free concert
Day/Duration : Friday/2 hours
sabha/Hall : Sri thyaga brahma sabha - P Obul Reddy Hall -Vanimahal Mini
...
1. kanakana ruchi rA - varAli
2. undeDi ramudu (Ragasketch, N S) - HarikAmbOdhi
6 mins neraval in kSEma karuDu tyAgarAja
5 mins swaras
3. ksheenamai tirugA (R N S)- mukhAri
9 mins alapana and 4 mins violin return
6 mins neraval in Edi jEsina jagannAthuDu shiramuna
4 mins swaras
4. nAmOrala (RagaSketch)- devagAndhari
5. vinata sutarA rA - Huseni
6A. manasu swA(j?)dheena maina (R S T)- shankarabharanam
10 mins alapana 6 mins violin return
11 mins swaras
6B. tani for 6 mins
7A. slokham mAtya avathArE - nAdanAmakriya+
rAmAbhidhEyam -yamunAkalyani+
bhajAminidhyam - punnagavarAli - ??(help needed to identify the lyricist of this slokham)
7B. indukA I tanuvunu - punnagavarAli
8. mATADavEmi nAtO - neelAmbari
9. mangalam
Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
Last edited by rajeshnat on 20 Aug 2016, 22:59, edited 1 time in total.
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
In Vanimahal , every year it is customary to have few concerts with the theme Bahulapanchami .I am assuming all this was started from the days of Late Shri Obul Reddy who was a great patron of CM and intense bhakthan of Sadguru Thyagaraja . I personally think all musicians irrespective of domicile learn a lot of T krithis so as such this theme may not hamstring any artist to present more music . Vidushi Bharathi Ramasubban , disciple of shri PSN presented a concert which was bit fluctuating in quality. I am personally listening to her for the second time in a live concert
I came 5 to 10 mins late , she was at the near half point of kanakana ruchirA . The varAli pancharatna is certainly the toughest and I thought she sang pretty well but I was bit surprised for few swaras she was referring the paper . The next harikAmbodhi or even from varali there was more share of violin tone that was bit drowning the vocalist - even though the overall volume was definitely apt . I told the mike man but he said the violinist Dr narmadha wants more and he said i will try to reduce . To an extent it was bit reduced post harikAmbOdhi . IN harikamBodhi the vocalist was behind the violinist for most of the sangathis . Bharathi sang well but I could also notice very obviously a certain recalcitrant throat . I recollect her last live where she had more throw this concert was bit marred by a deficient voice throw in this concert. The next ksheenamai was not a paramaguru like rendition , in the sense no notable pyrotechnics . But definitely the mukhari was the best detailed number in the concert . Bharathi strength is undoubtedly enunication of lyrics and every phrase was clean with an adequate musical coupling at least for mukhari.
The nAmorala and in general devagandhari can be bit more detailed standalone - it is a very leisurely krithi where vocalist can stretch with more vilambit , i found both this devagandhari and the next vinata suta rA was a work in progress krithi for her.
The main was in shankarabharanam , she sang with lot of ideas as patches , the voice was bit troubling her for sure . Incidentally she sang as manasu swAjeena , i have only heard as manasu swAdheena , she dodged briefly a line of neraval but she did well to immediately realize it is better to go with swaras . The swaras were quite well done with a sudden dash of good ideas , but it was not a consistent rendition - in my humble opinion out of all big 5 ragas the shankarabharanam is quite difficult to sing in higher registers with a recalcitrant throat .
The next slokham was well done , she did not announce the composer . I am assuming some contemporary vidwan /vidushi wrote it . Slokham /viruttams are just dream numbers especially considering that you can take voice rest at different points . Both the numbers in the tail were new to me , perhaps the muse of punnagavarali and neelambari are bit of overlap , but certainly no big deal as I had heard them for the first time .
Dr Narmada incidentally played with atleast two bows . For the alapana there was more bass , i felt during krithis for the first few numbers the volume could have been less . She was also bit caught up with law of average in terms of not getting her extraordinary appa like pitch with more richer nAdham. Arjun Ganesh knows how to consistently fill - I wish one of the days he gives a lecdem on how to play mrudangam with filling laya poruttam. His lecdem can be titled "YES to street smartness in mrudangam and NO to excessive silence" . His tani in middle was bit ordinary .
Bharathi ramasubban strength is enunciation and sAhithya anubhavam , she was bit unlucky to get caught with law of average. My favourite vaggeyakkara sadguru thyagaraja always gives me a newer perspective of CM and that indeed happened with me hearing these 2 newer krithis in punnagavarAli and neelAmbari (may be i have heard them but certainly i forgot hearing both of them).
Overall a good to very good concert for exact 2 hours.
I came 5 to 10 mins late , she was at the near half point of kanakana ruchirA . The varAli pancharatna is certainly the toughest and I thought she sang pretty well but I was bit surprised for few swaras she was referring the paper . The next harikAmbodhi or even from varali there was more share of violin tone that was bit drowning the vocalist - even though the overall volume was definitely apt . I told the mike man but he said the violinist Dr narmadha wants more and he said i will try to reduce . To an extent it was bit reduced post harikAmbOdhi . IN harikamBodhi the vocalist was behind the violinist for most of the sangathis . Bharathi sang well but I could also notice very obviously a certain recalcitrant throat . I recollect her last live where she had more throw this concert was bit marred by a deficient voice throw in this concert. The next ksheenamai was not a paramaguru like rendition , in the sense no notable pyrotechnics . But definitely the mukhari was the best detailed number in the concert . Bharathi strength is undoubtedly enunication of lyrics and every phrase was clean with an adequate musical coupling at least for mukhari.
The nAmorala and in general devagandhari can be bit more detailed standalone - it is a very leisurely krithi where vocalist can stretch with more vilambit , i found both this devagandhari and the next vinata suta rA was a work in progress krithi for her.
The main was in shankarabharanam , she sang with lot of ideas as patches , the voice was bit troubling her for sure . Incidentally she sang as manasu swAjeena , i have only heard as manasu swAdheena , she dodged briefly a line of neraval but she did well to immediately realize it is better to go with swaras . The swaras were quite well done with a sudden dash of good ideas , but it was not a consistent rendition - in my humble opinion out of all big 5 ragas the shankarabharanam is quite difficult to sing in higher registers with a recalcitrant throat .
The next slokham was well done , she did not announce the composer . I am assuming some contemporary vidwan /vidushi wrote it . Slokham /viruttams are just dream numbers especially considering that you can take voice rest at different points . Both the numbers in the tail were new to me , perhaps the muse of punnagavarali and neelambari are bit of overlap , but certainly no big deal as I had heard them for the first time .
Dr Narmada incidentally played with atleast two bows . For the alapana there was more bass , i felt during krithis for the first few numbers the volume could have been less . She was also bit caught up with law of average in terms of not getting her extraordinary appa like pitch with more richer nAdham. Arjun Ganesh knows how to consistently fill - I wish one of the days he gives a lecdem on how to play mrudangam with filling laya poruttam. His lecdem can be titled "YES to street smartness in mrudangam and NO to excessive silence" . His tani in middle was bit ordinary .
Bharathi ramasubban strength is enunciation and sAhithya anubhavam , she was bit unlucky to get caught with law of average. My favourite vaggeyakkara sadguru thyagaraja always gives me a newer perspective of CM and that indeed happened with me hearing these 2 newer krithis in punnagavarAli and neelAmbari (may be i have heard them but certainly i forgot hearing both of them).
Overall a good to very good concert for exact 2 hours.
Last edited by rajeshnat on 20 Aug 2016, 23:00, edited 1 time in total.
-
vkn1982
- Posts: 3
- Joined: 02 Feb 2014, 10:35
Re: Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
The shloka : martyAvatAre manujAkrtim harim
rAmAbhidheyam ramaNIya dehinam
dhanurdharam padma vishAla locanam
bhajAmi nityam na parAn bhajishye
is from Ahalya-krta rama stotram
The song after na moralakimpa was vinata suta ra ra in Huseni and not vinatasuta vahana
rAmAbhidheyam ramaNIya dehinam
dhanurdharam padma vishAla locanam
bhajAmi nityam na parAn bhajishye
is from Ahalya-krta rama stotram
The song after na moralakimpa was vinata suta ra ra in Huseni and not vinatasuta vahana
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Bharathi Ramasubban@ VaniMahal on Aug 19th,2016
vkn1982
Thank you made the correction . Also appreciate you giving the information on Ahalya krta rama stotram
Thank you made the correction . Also appreciate you giving the information on Ahalya krta rama stotram