Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
-----------------------------------------------------------
Vocal: Adithya Narayanan Shankar - Disciple of Suguna Varadachari and TM Krishna( presently learning from TMK)
Violin : Haritha Narayanan - googled to find that she learns from Delhi Sundararajan and before that she was a student of B Ananthakrishnan and Dr Hemalatha
Mrudangam : Adharsh Devarajan - Student of ??? <<Help needed to identify his Guru>>
Tambura : Yuvaraj
Concert Type : Nirvana - Non Ticketed concert
Day : Saturday
Duration - 2 hours and 05 mins 06:45 to 08:50 pm
Sabha/Hall : Sumanasa Foundation /Ragasudha Hall
01. bhavanuta (S)- Mohanam- T
09 mins swaras
02. rAga ratna mAlikachE (R,N,S) -reetigowlai - T
05 mins alapana and 04 mins violin return
neraval for 6 mins for bhAgavatO tamulu for 6 mins
2 mins swaras
03. nAdadina mAta (R) - janaranjani - T
forgot to note long alapana
04A. ksheenamai tirugA (R N S T) - mukhari - T
11 mins alapana and 07 mins violin return
neraval in Yeti jEsina jagaN nAthudu for 08 mins
04 mins swaras
04B. tani for 09 mins
05. marubAri talalenurA - khamAs - Dharmapuri Subbarayar
06A.slokham - sindhoorA Urana Kanthim???.... Subramanya upasamahE - suddhadhanyasi
06B. suddhadhanyasi became udayaravichandrika due to nadaJyothi
sriguruguhamurthE - udayaravichandrika - MD
(starting with anupallavi yOginI hRdaya prakASa )
Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
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rajeshnat
- Posts: 10259
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 10259
- Joined: 03 Feb 2010, 08:04
Re: Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
This is my second live concert of this brilliant vidwan Adhitya . HE was featured by his present guru TM Krishna banner of sumanasa foundation . In ragasudha hall for atleast 3 or may be 4 days this foundation is featuring students of TMK. Prior to his concert there was a evening concert 1 where i heard a short snippet of music college students singing a tirruppugazh. I think i have heard some where some time may be in youtube the violinist Haritha , but definitely i am hearing Adharsh Devarajan , the mrudangam artist for the very first time, seen him in quite a few concerts as a rasika but did not knew he was a performing artist
Concert started at 06 45 pm (advertised at 06 30) understandably ok ,as there was a prior concert . Adhitya is surely blessed with a masculine voice and since he represents the padantara of two great vidwans Musiri and Semmangudi, the flashes of these two schools are fairly omnipresent and surely keeps me engrossed -ofcourse bani alone does not make that glue , it is how Adhitya sings in a concert that counts .
I should also state at few places he bit reminds of the extraordinary vidwan -Ramnad Krishnan . There also he bit reminds an earlier part of Ramnad Krishnan, (flashes Ramnad Krishnan in GNBIsh style rather than a style of Veena Dhanammal Bani style) . Also at many places the TMK style is there , the key is early TMK style is only there especially bit sudden drying out of voice and giving a deeper gamaka turns in swaras with a conscious slower choice of singing bit slowly at few places.
Concerts if it starts a bit late has always some associated charm . The associated charm possibly starts with the singer singing a varnam when he/she commutes to the concert hall That is reserved all for himself/herself and the concert varanUM starts not with a varnam but with a kind of near weighty submainish start . The krithi that he started was the resplendent bhavanuta in mohanam . I heard for the very first time this song when we conducted rasikas concert when sri manakkal rangarajan sang or i did get a recording of the great manakkal rangarajan singing - then only i knew manakkal rangarajan predecessors have sung this great krithi bhavanuta. Then one super outstanding recording of violinist MSG playing bhavanuta , it was charming mohanam all the way . Mohanam when you keep an arresting speed and a rollicking swaras to follow up , that makes my day . Indeed Adithya made my day with his engaging bhavanuta mohanam start and kept the near same momentum with the rest of the concert.
Detailed alapana of reetigowlai followed with the weighy raaga ratna mala. THe greatest reeetigowlai singer to ever exist in CM is unquestionably Taala Raaga Swaroopan that too when he sings this krithi. Adithya sang well matching at many points with the prolific Taala Raaga swaroopan , though not as high as the mahavidwan TRS. He ending so quickly the swara segment just did not please me that much .
The next was a detailed alapana of janaranjani . Janaranjani alapana generally hovers with key phrases of some krithis like say pAhimam shree raja Rajeswari , it is tricky raga to kind of abstract away from singing any key phrases of known krithis . He did well but felt in krithi the finish was not there. This krithi nadAdina mAta is quite rare, i think i have heard once OST sing in a live concert. All said janaranjani just did not register that well with his rendition of krithi , though alapana the experience was much more impactful
Semmangudification started and came in total with mUkhari alapana and the SSI flagship krithi of ksheenamai .Adithya showed his class in mukhari. Like early days of TMK there was a lot of charge without sag rendition . IN nerval also he maintained his energy and also at times like TMK giving a little slower bit dry sangathis to arrest the speed in swaras like say ri ma ga ri sa and then ... YEti Jesi was lovely . Also Adharsh was SIvaramanificating or Sankaranificating the ksheenamai . Also the press of Haritha was surely reminding Delhi sundarrajan of how he used to tow TNS/TVS as a shadow certainly she was going like TNKrishafication with violin . Adithya was very impressive with a very particularly madhyamakalam singing of swaras in a long cycle with very minimal violin return was very impressive. The neraval yeti jesi was very impressive
POst Mukhari there was the known javali . I recognized Janaranjani in first millisecond without even thinking of say a kannada or whatever in that cluster . I dont know how what to say when i was thinking behag when the javali was on despite he was only singing kamas - that is carnatic live feel . Am i losing bit of CM where i have became a flickering tubelight not even able disambiguate kamas and behag - Hope it goes away. The best was the last number of Dikshitar . When he sang that lovely slokham i could spot sudddha dhanyasi , then he sang the masterpiece udayaravichandrika (asampoora name of Suddhadhanyasi), it was a real goose bump moment . Adithya gives so much energy and verve and the last number guruguha moorthE was a fantastic closure he started with the anupallavi . What can one say with the nadajyothi dikshitar when he gives such goosebump moments.
I would have been far more happy with the concert if he had included atleast one thamizh number , may be irakkam varamal in behag (i would have surely not written as kamas)instead of another telugu number , it appeared as a very heavy telugu krithi overdose of concert. Till the javali was on i was even thinking is this an exclusive T concert .
Haritha plays so well during the course of the rendition of the song . IN alapana return she may have to work a bit in giving an even balance to the raga bhavam. Sudden brigas at times where she bit loses the sheen of raga rasa is what i thought she may have to improve . But i guess this is what is part of her growing up as a better violinist she will be soon a delhi sundarrajan playing for TVS/TNS vidushi. All said very responsive toeing violinist.
Adharash Devarajan played with a lot of energy , bit more sound SOUND will take him to places . HE had variety of strokes especially Ksheenamai run as sivaramanification or Sankaranification was a special debut in my ears
All said among TMK Student i found Vignesh Ishwar as a very brilliant with very sound sampradaya touch and booming voice texture. Adithya is surely not too far , his charm is to sing with a continued passion where brigas that get so well rounded with gamakas. More power to him through the conduit of TMK/Suguna V towards SSI/Musiri. Bit conscious choice to sing a thamizh song and taking consciously a song away from SSI/Musiri school will be wonderful. I wish he had sung bit more ofcourse that complaint is there for 99 percent of concerts that i attended . He signed before Dikshitar number where Sangeetha Sivakumar asked him to sing 1 more , that was a very lucky one to hear this udayaravichandrika rare number . I am looking forward to hear him sing a detailed RTP in any of his future live concerts.
Overall a very good to excellent concert for 2 hours and 5 mins.
Concert started at 06 45 pm (advertised at 06 30) understandably ok ,as there was a prior concert . Adhitya is surely blessed with a masculine voice and since he represents the padantara of two great vidwans Musiri and Semmangudi, the flashes of these two schools are fairly omnipresent and surely keeps me engrossed -ofcourse bani alone does not make that glue , it is how Adhitya sings in a concert that counts .
I should also state at few places he bit reminds of the extraordinary vidwan -Ramnad Krishnan . There also he bit reminds an earlier part of Ramnad Krishnan, (flashes Ramnad Krishnan in GNBIsh style rather than a style of Veena Dhanammal Bani style) . Also at many places the TMK style is there , the key is early TMK style is only there especially bit sudden drying out of voice and giving a deeper gamaka turns in swaras with a conscious slower choice of singing bit slowly at few places.
Concerts if it starts a bit late has always some associated charm . The associated charm possibly starts with the singer singing a varnam when he/she commutes to the concert hall That is reserved all for himself/herself and the concert varanUM starts not with a varnam but with a kind of near weighty submainish start . The krithi that he started was the resplendent bhavanuta in mohanam . I heard for the very first time this song when we conducted rasikas concert when sri manakkal rangarajan sang or i did get a recording of the great manakkal rangarajan singing - then only i knew manakkal rangarajan predecessors have sung this great krithi bhavanuta. Then one super outstanding recording of violinist MSG playing bhavanuta , it was charming mohanam all the way . Mohanam when you keep an arresting speed and a rollicking swaras to follow up , that makes my day . Indeed Adithya made my day with his engaging bhavanuta mohanam start and kept the near same momentum with the rest of the concert.
Detailed alapana of reetigowlai followed with the weighy raaga ratna mala. THe greatest reeetigowlai singer to ever exist in CM is unquestionably Taala Raaga Swaroopan that too when he sings this krithi. Adithya sang well matching at many points with the prolific Taala Raaga swaroopan , though not as high as the mahavidwan TRS. He ending so quickly the swara segment just did not please me that much .
The next was a detailed alapana of janaranjani . Janaranjani alapana generally hovers with key phrases of some krithis like say pAhimam shree raja Rajeswari , it is tricky raga to kind of abstract away from singing any key phrases of known krithis . He did well but felt in krithi the finish was not there. This krithi nadAdina mAta is quite rare, i think i have heard once OST sing in a live concert. All said janaranjani just did not register that well with his rendition of krithi , though alapana the experience was much more impactful
Semmangudification started and came in total with mUkhari alapana and the SSI flagship krithi of ksheenamai .Adithya showed his class in mukhari. Like early days of TMK there was a lot of charge without sag rendition . IN nerval also he maintained his energy and also at times like TMK giving a little slower bit dry sangathis to arrest the speed in swaras like say ri ma ga ri sa and then ... YEti Jesi was lovely . Also Adharsh was SIvaramanificating or Sankaranificating the ksheenamai . Also the press of Haritha was surely reminding Delhi sundarrajan of how he used to tow TNS/TVS as a shadow certainly she was going like TNKrishafication with violin . Adithya was very impressive with a very particularly madhyamakalam singing of swaras in a long cycle with very minimal violin return was very impressive. The neraval yeti jesi was very impressive
POst Mukhari there was the known javali . I recognized Janaranjani in first millisecond without even thinking of say a kannada or whatever in that cluster . I dont know how what to say when i was thinking behag when the javali was on despite he was only singing kamas - that is carnatic live feel . Am i losing bit of CM where i have became a flickering tubelight not even able disambiguate kamas and behag - Hope it goes away. The best was the last number of Dikshitar . When he sang that lovely slokham i could spot sudddha dhanyasi , then he sang the masterpiece udayaravichandrika (asampoora name of Suddhadhanyasi), it was a real goose bump moment . Adithya gives so much energy and verve and the last number guruguha moorthE was a fantastic closure he started with the anupallavi . What can one say with the nadajyothi dikshitar when he gives such goosebump moments.
I would have been far more happy with the concert if he had included atleast one thamizh number , may be irakkam varamal in behag (i would have surely not written as kamas)instead of another telugu number , it appeared as a very heavy telugu krithi overdose of concert. Till the javali was on i was even thinking is this an exclusive T concert .
Haritha plays so well during the course of the rendition of the song . IN alapana return she may have to work a bit in giving an even balance to the raga bhavam. Sudden brigas at times where she bit loses the sheen of raga rasa is what i thought she may have to improve . But i guess this is what is part of her growing up as a better violinist she will be soon a delhi sundarrajan playing for TVS/TNS vidushi. All said very responsive toeing violinist.
Adharash Devarajan played with a lot of energy , bit more sound SOUND will take him to places . HE had variety of strokes especially Ksheenamai run as sivaramanification or Sankaranification was a special debut in my ears
All said among TMK Student i found Vignesh Ishwar as a very brilliant with very sound sampradaya touch and booming voice texture. Adithya is surely not too far , his charm is to sing with a continued passion where brigas that get so well rounded with gamakas. More power to him through the conduit of TMK/Suguna V towards SSI/Musiri. Bit conscious choice to sing a thamizh song and taking consciously a song away from SSI/Musiri school will be wonderful. I wish he had sung bit more ofcourse that complaint is there for 99 percent of concerts that i attended . He signed before Dikshitar number where Sangeetha Sivakumar asked him to sing 1 more , that was a very lucky one to hear this udayaravichandrika rare number . I am looking forward to hear him sing a detailed RTP in any of his future live concerts.
Overall a very good to excellent concert for 2 hours and 5 mins.
Last edited by rajeshnat on 24 Mar 2026, 18:43, edited 2 times in total.
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rajeshnat
- Posts: 10259
- Joined: 03 Feb 2010, 08:04
Re: Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
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Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
-----------------------------------------------------------
Vocal: Adithya Narayanan Shankar - Disciple of Suguna Varadachari and TM Krishna( presently learning from TMK)
Violin : Haritha Narayanan - googled to find that she learns from Delhi Sundararajan and before that she was a student of B Ananthakrishnan and Dr Hemalatha
Mrudangam : Adharsh Devarajan - Student of ??? <<Help needed to identify his Guru>>
Tambura : Yuvaraj
Duration - 2 hours and 05 mins 06:45 to 08:50 pm
Sabha/Hall : Sumanasa Foundation /Ragasudha Hall
GLICSPAWES 2026 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #G of Z(hopefully Z(26) is goal) .
G stands for GowriManohari
www.rasikas.org/forums/viewtopic.php?p=385685#p385685
Adithya Narayanan Shankar@Sumanasa Foundation(Ragasudha hall) On Mar 21st,2026
-----------------------------------------------------------
Vocal: Adithya Narayanan Shankar - Disciple of Suguna Varadachari and TM Krishna( presently learning from TMK)
Violin : Haritha Narayanan - googled to find that she learns from Delhi Sundararajan and before that she was a student of B Ananthakrishnan and Dr Hemalatha
Mrudangam : Adharsh Devarajan - Student of ??? <<Help needed to identify his Guru>>
Tambura : Yuvaraj
Duration - 2 hours and 05 mins 06:45 to 08:50 pm
Sabha/Hall : Sumanasa Foundation /Ragasudha Hall
GLICSPAWES 2026 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #G of Z(hopefully Z(26) is goal) .
G stands for GowriManohari
www.rasikas.org/forums/viewtopic.php?p=385685#p385685