Padma Sugavanam@NGS on Nov 25th,2016
Dr Padma Sugavanam@NGS on Nov 25th,2016
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Vocal : Padma Sugavanam , disciple of Seetha Rajan
Violin : V V Ravi
Mrudangam : K Arun Prakash
Kanjira : KS Gopalakrishnan
Concert Type : Nirvana - No concert to follow , Free concet
Day/Duration : Friday /1 hour and 55 mins
sabha/Hall : Charsur Arts Foundation , NGS Mini Hall
1. Dharini Telusukonti (S) - suddaSAveri - T
swaras for 8 mins
2. balakrishan padamalar (raga sketch)- dhanyasi -psivan
3. mamava sadA varadE (RS, N,S) - nattaikurinji- ST
neraval for 4 mins in lalitha mani hAra
swaras for 3 mins
4. Marugelera - jayanthashree -T
5A. ninnuvinaga mari dikkevarunnAru (R N S T) - poorvikalyani -SS
11 mins alapana and 7 mins violin return
neraval in kAmitArttha phaladAyaki
swaras for 11 mins
5B.tani for 9 mins
6. nArayanathe namo namo - behag -AC
7A. ugabhooga -janani janaka neenE yenthu -Desh
7B. eesha ninna charana bhajanE - dESh -Kanakadasa
8. tanum nom thara .... mridanga supta sudhakara - kalyani - Dr BMK????
9. pavamAna
Padma Sugavanam@NGS on Nov 25th,2016
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rajeshnat
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Padma Sugavanam@NGS on Nov 25th,2016
Last edited by rajeshnat on 27 Nov 2016, 03:27, edited 1 time in total.
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rajeshnat
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Re: Padma Sugavanam@NGS on Nov 25th,2016
Charsur , the organization that is known to exclusively record and sell live concerts are organizing for the past few years in their banner an exclusive concert . They usually invite - "upcoming to be soon stars" . They rent the NGS mini and they record the concert and give pamphlets resembling the CD sleeve. I had 3 choices to attend concerts in mile ah less pour -one in Arkay , the other in BVB , i skipped those two and went to hear Padma . The prima facie reason is she being the disciple of vidushi seetha rajan , who is to me a very authentic musician. Few concerts that I attended of seetha , padma was seated next to her.
The first impression of Padma was that she was having a very strong throw and gladly her throw was there for the whole concert . The expressive or rather super expressive dharini telusukonti was a great start .The speed could have been slighly faster (blame it to on hearing excessively GNB), padma gave a great start . The swaras in sudda saveri were nice and certainly her voice was really strong - infact I felt may be there was a need of silencer too for sudda saveri as the volume was slightly high.I think suresh from charsur adjusted the sound right at the end of sudda saveri.
THe sedate dhanyasi followed , felt she could have dwelled and repeated few more sangathis to reinforce the calm charm of dhanyasi. Nattaikurinji was certainly the best number in the concert . Certainly she got the right muse ,neraval and swaras could have been more impressive , it looked she had to cut short and censor it.
The usually fast pepped marugelara - i liked the way she started but I felt there was not much tightness in exhibiting a certain rhythmic leash. Poorvikalyani as a main was quite well done .Her krithi rendition was very good and it is years since I heard this ss krithi . The alapana had very standard circular phrases(typical dosham of poorvikalyani) , she could have exhibited more on spot creativity in neraval and swaras and used the momentum that the two percussionist to her advantage. Poorvikalyani main could have been more vistaramana main.
In the tukkadas I particularly liked her strong throw and desh ugabhooga followed by another kannada krithi in Desh was the pick . DId Dr BMK come in as tilllana .I heard a murali mudra and the tillana had a signature of BMK at every turn, particularly few poruttams in lines like mAdhAni madhani had an intense BMK touch. By the way , I am assuming that I am hearing for the very first time a thillana in kalyani -thanks to the brilliance of the departed Dr BMK . Is there any thillana other than BMK thillana in melakartha 65(Lji is there any more there). The emote of behag in AC krithi was well done .
VV Ravi had very little role to play , particularly his poorvikalyani was the most noteworthy. KA Arunprakash , I just did not get his style at all. His play was Pro Dharna . Almost all krithis(excepting suddha saveri) the pattern was either gently tap or press tightly the mrudangam from the pallavi till the midpoint of anupallavi and then he plays as though he gets up from the bed with an alarm.KV Gopalakrishnan gave great support for the limited turns that he had
Padma sugavanam brings certainly a very watertight patantara approach . Her strong voice and throw is her asset , but certainly she can cut loose- bit more in alapana and neraval . In swaras when momentum picks she can give bit more patterns to sustain bit more interest in me (her paramaguru is the doyen semmangudi).
Charsur tagline is Preserving Carnatic Music . I am not sure how any thing can be preserved when a musician is just asked to sing not more than 2 hours.The start is 06 15 and the night is open with an open ended concert, let us first use the time then there is a chance to preserve carnatic music. Best wishes to them , looking forward to hear many of the lovely talent that they have lined up in the next month. Charsur (Charu and Suresh -provide a platform for atleast 2 and 1/2 to 3 hours - I am sure you can do it)
Overall a good to very good concert for nearly 2 hours.
The first impression of Padma was that she was having a very strong throw and gladly her throw was there for the whole concert . The expressive or rather super expressive dharini telusukonti was a great start .The speed could have been slighly faster (blame it to on hearing excessively GNB), padma gave a great start . The swaras in sudda saveri were nice and certainly her voice was really strong - infact I felt may be there was a need of silencer too for sudda saveri as the volume was slightly high.I think suresh from charsur adjusted the sound right at the end of sudda saveri.
THe sedate dhanyasi followed , felt she could have dwelled and repeated few more sangathis to reinforce the calm charm of dhanyasi. Nattaikurinji was certainly the best number in the concert . Certainly she got the right muse ,neraval and swaras could have been more impressive , it looked she had to cut short and censor it.
The usually fast pepped marugelara - i liked the way she started but I felt there was not much tightness in exhibiting a certain rhythmic leash. Poorvikalyani as a main was quite well done .Her krithi rendition was very good and it is years since I heard this ss krithi . The alapana had very standard circular phrases(typical dosham of poorvikalyani) , she could have exhibited more on spot creativity in neraval and swaras and used the momentum that the two percussionist to her advantage. Poorvikalyani main could have been more vistaramana main.
In the tukkadas I particularly liked her strong throw and desh ugabhooga followed by another kannada krithi in Desh was the pick . DId Dr BMK come in as tilllana .I heard a murali mudra and the tillana had a signature of BMK at every turn, particularly few poruttams in lines like mAdhAni madhani had an intense BMK touch. By the way , I am assuming that I am hearing for the very first time a thillana in kalyani -thanks to the brilliance of the departed Dr BMK . Is there any thillana other than BMK thillana in melakartha 65(Lji is there any more there). The emote of behag in AC krithi was well done .
VV Ravi had very little role to play , particularly his poorvikalyani was the most noteworthy. KA Arunprakash , I just did not get his style at all. His play was Pro Dharna . Almost all krithis(excepting suddha saveri) the pattern was either gently tap or press tightly the mrudangam from the pallavi till the midpoint of anupallavi and then he plays as though he gets up from the bed with an alarm.KV Gopalakrishnan gave great support for the limited turns that he had
Padma sugavanam brings certainly a very watertight patantara approach . Her strong voice and throw is her asset , but certainly she can cut loose- bit more in alapana and neraval . In swaras when momentum picks she can give bit more patterns to sustain bit more interest in me (her paramaguru is the doyen semmangudi).
Charsur tagline is Preserving Carnatic Music . I am not sure how any thing can be preserved when a musician is just asked to sing not more than 2 hours.The start is 06 15 and the night is open with an open ended concert, let us first use the time then there is a chance to preserve carnatic music. Best wishes to them , looking forward to hear many of the lovely talent that they have lined up in the next month. Charsur (Charu and Suresh -provide a platform for atleast 2 and 1/2 to 3 hours - I am sure you can do it)
Overall a good to very good concert for nearly 2 hours.
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CRama
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Re: Padma Sugavanam@NGS on Nov 25th,2016
Welcome Back Rajesh, I am happy that you have reached Chennai before December season.
Padma Sugavanam- I have heard her along with Seetha Rajan Mami. Then I heard her in the Pallavi jam and noted to hear her full length concert soon.
Padma Sugavanam- I have heard her along with Seetha Rajan Mami. Then I heard her in the Pallavi jam and noted to hear her full length concert soon.
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advaitin
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Re: Padma Sugavanam@NGS on Nov 25th,2016
"Almost all krithis(excepting suddha saveri) the pattern was either gently tap or press tightly the mrudangam from the pallavi till the midpoint of anupallavi"
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Lakshman
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Re: Padma Sugavanam@NGS on Nov 25th,2016
IshA ninna caraNa is by Kanakadasa.
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pravaktha91
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Re: Padma Sugavanam@NGS on Nov 25th,2016
To understand this style, it requires "high cerebral quotient" . Which means, the layman or a person who has learnt Mridangam cannot understand. It needs more than that to understand this styleI just did not get his style at all. His play was Pro Dharna . Almost all krithis(excepting suddha saveri) the pattern was either gently tap or press tightly the mrudangam from the pallavi till the midpoint of anupallavi and then he plays as though he gets up from the bed with an alarm
