Pantula Rama@Arkays Convention Center on Dec 18th,2016
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Vocal : Pantula Rama
Violin : MSN Moorthy
Mrudangam : Sumesh Narayanan
Ghatam : Nerkunam Dr Shankar
Concert Type : Nirvana - no concert to follow and Free concert
Day/Duration : Sunday 2 hours and 20 mins
Sabha : Madhuradhwani
01. gam gam gaNapathim(S) - ganapathi - BMK
3 note raga of BMK in sa pa ga
02. rAmA ika nannu brOva rAdA (R,S) - sahana -Patnam
7 mins alapana and
6 mins swaras
03. palukavEminA- poornachandrika - T
4. talli ninnu (R N S)-kalyani -SS
11 mins alapana and 6 mins violin return
kowmaari raNi puraaNi parA shakti neraval for 6 mins
swaras for 5 mins
5. RTP in varamu for 42 mins
15 mins alapana with violin return
non metered taanam for 8 mins
Pallavi and swaras for 19 mins
Pallavi line --->> agaram madhuram gamanam madhuram madhurA dipathE akhilam madhuram
pallavi in khanda jaathi triputa taala
Swara ragamaliga in varamu + Kurinji
5B. tani for 17 mins
6. muruganin maru peyar azhagu (R) - behag -swami surajananda
2 mins alapana
7. tom tathaara dhari .... karunakara ... sriraghuvara mAm palaya - kAnadA -(Is this Poochi Lji)??
8. pavamana with other unknown lines likes pankajAksha - sowrashtram- T
Pantula Rama@Arkays Convention Center on Dec 18th,2016
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rajeshnat
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rajeshnat
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
In the history of CM in Chennai , we have seen few andra based musicians who had their home town still in andhra have been respected . The respect and most importantly they have given a kind of unique aura with their music. In that list Voleti(I adore him) and Nedanuri have given such class with their unique individual presentation . In this era IMHO pantula rama truly is in that league.
Her music has aesthetics defined where the layam is so ingrained and the raga bhavam takes over not just for few minutes but for almost the entire concert. Also her main vehicle is a fine voice , that does not even have an iota of the usual feminine shrill .
Dr BMK garu was misunderstood by me for many years with his ragas especially the shorter variey with minimalistic notes . But only when non balamuralikrishna based vidwans/vidushis i see the real glow of a BMK krithi.Pantula gave a lovely start , I did not miss any of the other 4 notes . Pantula presented brilliantly the first Bmk compositions in Gam gam ganapathe in ragam ganapathi which has just 3 notes - sa pa ga, her minimilastic attire and reiki touch was indeed there with this composition which was like a nottuswaram of dikshitar .
Sahana is born with intrinsic serenity but if there are little upper octave shoots that will really make it more aesthetic . Pantula did very well for the most part and I could notice she was taking few steps on higher octave .She sang a lovely krithi in sahana and her followup of swaras was gentle .She recognized that her voice did have some incidental limitation , she exercised caution but wrapped up well with MSN Murthy giving her the right lung support. THe next in palukavEminA was a bit of low point in the concert . This filler did not give any feeler as I did not get that much aesthetics .
Her next main was in kalyani. The alapana was well done with a lot of caution of not straining her voice . The SS krithi was sung in a lovely leisurely pace - she kept up the usual kalyani muse , She again showed bit more caution in neraval and swaras but overall the talli ninnu was sung with a mantra of not over straining her incidental strain in her voice
Her voice reached a fine pitch and she came up with a lovely RTP in varamu . Pantula breezy style with so much of aesthetic space and deep undercurrent sangathis made varamu look as though it was pantula's own unique creation- just like how BMK created ganapathi ragam . Alapana was well done and the tanam was measured with right amalgam of joy of hindolam and the serene feather touch of Bhageshri which is perhaps the best secret sauce to cook Varamu. Pallavi had a lot of swara aksharam and some lovely patterns were weaved with ease in a swarakshara fashion especially with the key phrase ma da (madhuram) . THe varamu did have a lovely sister kurinji and she sang beautifully. I am not sure if the violinist played the same kurinji in return or did he take up another raga . For varamu the concert was worth it.
She moved with a fairly detailed alapana in behag . She did refer notes but it did not take any share of extra muse that may get lost due to referral . The KanadA thillana was well done and she closed with high share of aesthetics. I have heard thru forum that she usually presents alll the lines of nee nama rooopamulaku and i heard the same- all the lines were nearly the same -musically no brownie points for those extra lines.
The violinist MSN Murthy was better during returns , I felt the press could have been bit more sharper during the course of the song. A day before I heard sumesh with Vignesh , the same Sumesh did have a completely different avatar - zero banging in every portion of the concert excepting tani. He understood how to enhance Pantula and he was a different avatar. Nerkunam shankar teamed well in tani and was in flow with the concert.
There is elegance in gentle undercurrent presentation provided if the caveat that the voice has to be melodious and near pitch perfect. Pantula fits perfectly there with her presentation.
Overall a very good to excellent concert for 2 hours and 20 mins
Her music has aesthetics defined where the layam is so ingrained and the raga bhavam takes over not just for few minutes but for almost the entire concert. Also her main vehicle is a fine voice , that does not even have an iota of the usual feminine shrill .
Dr BMK garu was misunderstood by me for many years with his ragas especially the shorter variey with minimalistic notes . But only when non balamuralikrishna based vidwans/vidushis i see the real glow of a BMK krithi.Pantula gave a lovely start , I did not miss any of the other 4 notes . Pantula presented brilliantly the first Bmk compositions in Gam gam ganapathe in ragam ganapathi which has just 3 notes - sa pa ga, her minimilastic attire and reiki touch was indeed there with this composition which was like a nottuswaram of dikshitar .
Sahana is born with intrinsic serenity but if there are little upper octave shoots that will really make it more aesthetic . Pantula did very well for the most part and I could notice she was taking few steps on higher octave .She sang a lovely krithi in sahana and her followup of swaras was gentle .She recognized that her voice did have some incidental limitation , she exercised caution but wrapped up well with MSN Murthy giving her the right lung support. THe next in palukavEminA was a bit of low point in the concert . This filler did not give any feeler as I did not get that much aesthetics .
Her next main was in kalyani. The alapana was well done with a lot of caution of not straining her voice . The SS krithi was sung in a lovely leisurely pace - she kept up the usual kalyani muse , She again showed bit more caution in neraval and swaras but overall the talli ninnu was sung with a mantra of not over straining her incidental strain in her voice
Her voice reached a fine pitch and she came up with a lovely RTP in varamu . Pantula breezy style with so much of aesthetic space and deep undercurrent sangathis made varamu look as though it was pantula's own unique creation- just like how BMK created ganapathi ragam . Alapana was well done and the tanam was measured with right amalgam of joy of hindolam and the serene feather touch of Bhageshri which is perhaps the best secret sauce to cook Varamu. Pallavi had a lot of swara aksharam and some lovely patterns were weaved with ease in a swarakshara fashion especially with the key phrase ma da (madhuram) . THe varamu did have a lovely sister kurinji and she sang beautifully. I am not sure if the violinist played the same kurinji in return or did he take up another raga . For varamu the concert was worth it.
She moved with a fairly detailed alapana in behag . She did refer notes but it did not take any share of extra muse that may get lost due to referral . The KanadA thillana was well done and she closed with high share of aesthetics. I have heard thru forum that she usually presents alll the lines of nee nama rooopamulaku and i heard the same- all the lines were nearly the same -musically no brownie points for those extra lines.
The violinist MSN Murthy was better during returns , I felt the press could have been bit more sharper during the course of the song. A day before I heard sumesh with Vignesh , the same Sumesh did have a completely different avatar - zero banging in every portion of the concert excepting tani. He understood how to enhance Pantula and he was a different avatar. Nerkunam shankar teamed well in tani and was in flow with the concert.
There is elegance in gentle undercurrent presentation provided if the caveat that the voice has to be melodious and near pitch perfect. Pantula fits perfectly there with her presentation.
Overall a very good to excellent concert for 2 hours and 20 mins
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sureshvv
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
A bit about muruganin maru peyar. Rama did exceptionally well with pronunciation - it had all the la La ra Ra curve balls in succession & she navigated through with ease.
She started the kriti after a brief raga dileanation with "azhagu" which seemed to explain the word.
She started the kriti after a brief raga dileanation with "azhagu" which seemed to explain the word.
Last edited by sureshvv on 20 Dec 2016, 16:31, edited 1 time in total.
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rshankar
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
Rajesh, a couple of points - if you need to refer to this artist by one name, you should use Rama and not Pantula - Pantula is a family name, along the lines of Uru peyaru in TN.
The pallavi should be "adharam (lips) madhuram gamanam madhuram mathurAdhipatEr akhilam madhuram"
The pallavi should be "adharam (lips) madhuram gamanam madhuram mathurAdhipatEr akhilam madhuram"
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rajeshnat
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
Ravirshankar wrote: The pallavi should be "adharam (lips) madhuram gamanam madhuram mathurAdhipatEr akhilam madhuram"
This line comes in bhaja govindam rendition of Ms amma right , refresh me please. It just strikes me now right
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rajeshnat
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
Ravirshankar wrote:Rajesh, a couple of points - if you need to refer to this artist by one name, you should use Rama and not Pantula - Pantula is a family name, along the lines of Uru peyaru in TN.
WHat would be your thought say if the forum was there 50 years back . If i refer srinivasan instead of semmangudi. or 30 years back krishnamurthy instead of nedanuri. I refer always her as Pantula rama or only pantula comes , that rama does not come to me . Not arguing with you here , point taken - let me try next time.
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pattamaa
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Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
the line is from madhurastakam not bhaja govindam.rajeshnat wrote:Ravirshankar wrote: The pallavi should be "adharam (lips) madhuram gamanam madhuram mathurAdhipatEr akhilam madhuram"
This line comes in bhaja govindam rendition of Ms amma right , refresh me please. It just strikes me now right
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rshankar
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- Joined: 02 Feb 2010, 22:26
Re: Pantula Rama@Arkays Convention Center on Dec 18th,2016
Very funny, but point taken!rajeshnat wrote:Ravi
WHat would be your thought say if the forum was there 50 years back . If i refer srinivasan instead of semmangudi. or 30 years back krishnamurthy instead of nedanuri. I refer always her as Pantula rama or only pantula comes , that rama does not come to me . Not arguing with you here , point taken - let me try next time.