The items presented were:
1. innum en manam — cArukEsi AditALa varNam (LGJ)
2. vAtApi gaNapatim — hamsadhvani, Adi tALam (Dikshitar): svarams at pallavi
3. jananI ninnuvinA — rItigauLa, miSracApu (Subbaraya Sastri): brief AlApanai
4. anurAgamu lEni — sarasvati, rUpaka tALam (Tyagarajaswamy): AlApanai, svarams at vagavagagA bhujiyincE
5. bAlagopAla — bhairavi, Adi 2-kaLai (Dikshitar?): big AlApanai, lots of svarams at anupallavi after finishing song
tani
6. some rAgamAlika in mANDu, kAmbhOji (?) kApi and jhonpuri
7. tillAnA in madhuvanti
8. mangalam
More afterwards.
Lalgudi Vijayalakshmi
-
srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23
This concert was the one discussed in General Discussions — the arangetram of Chiranjeevi Rishi.
According to Kalaimamani Shrimushnam Rajarao, it was a concert where there was 'kaccidam' in everything.
My own observations (if they matter after that!) were as follows.
Vidushi Vijayalakshmi led most of the melody, except for the sarasvati AlApanai. The rItigauLa exploration, was very beautiful and carefully framed — even I could tell the rAgam at the first svaram! All the AlApanais, especially bhairavi, held the quality that every svaram very naturally followed the previous.
Vidushi Vijayalakshmi was quietly encouraging Ch Rishi throughout the concert, just by nodding and smiling instead of 'besh!', 'bale!' and 'shabaash!'. Ch Rishi followed the melody precisely, and the svarasAhityam in jananI brought this out very evidently. The tani was very enjoyable, and just as complicated as it should be (which means rather too complicated for me!). Ghatam Vidwan S Kartik, for all his vidwat and experience, followed the mridangam faithfully.
Vidwan Ramamurthy gave very good replies to svarams, this was very noticeable in bhairavi one-Avartana svarams concluding at pa, with a ni and a ma stressed at particular aksharams. His sarasvati AlApanai was also good.
According to Kalaimamani Shrimushnam Rajarao, it was a concert where there was 'kaccidam' in everything.
My own observations (if they matter after that!) were as follows.
Vidushi Vijayalakshmi led most of the melody, except for the sarasvati AlApanai. The rItigauLa exploration, was very beautiful and carefully framed — even I could tell the rAgam at the first svaram! All the AlApanais, especially bhairavi, held the quality that every svaram very naturally followed the previous.
Vidushi Vijayalakshmi was quietly encouraging Ch Rishi throughout the concert, just by nodding and smiling instead of 'besh!', 'bale!' and 'shabaash!'. Ch Rishi followed the melody precisely, and the svarasAhityam in jananI brought this out very evidently. The tani was very enjoyable, and just as complicated as it should be (which means rather too complicated for me!). Ghatam Vidwan S Kartik, for all his vidwat and experience, followed the mridangam faithfully.
Vidwan Ramamurthy gave very good replies to svarams, this was very noticeable in bhairavi one-Avartana svarams concluding at pa, with a ni and a ma stressed at particular aksharams. His sarasvati AlApanai was also good.