K.Gayatri@Nadasurabhi on 15th June 2014

[kssr]

Their monthly concert invitation reads as follows:
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Nadasurabhi Cultural Association, (Regd.)
662, 6th Cross, 17th Main , 3rd Block, Koramangala, Bangalore.560 034.
Phone: 25539368. Email:[email protected] Web: http://nadasurabhi.org

Cordially invites you for the Monthly Programme on
Sunday, 15th June 2014 at 4.15 PM

Venue: The Indian Heritage Academy Hall,
Near Police Station, 6th Block,
Koramangala, Bangalore. 560 095.

Vidushi Gayatri.K. - Vocal
Vidwan Nishanth Chandran - Violin
Vidwan Jayachandra Rao.K.U. - Mridangam
Vidwan Narayana Murthy S.N. - Ghatam

K. Gayatri is the disciple of Kalaimamani Smt. Suguna Purushothaman of the Musiri and Semmangudi Parampara and she has also been learning under Vidushi Suguna Varadachari. She has been performing concerts in all the major sabhas in Chennai and elsewhere for over 10 years. An A graded All India Radio artist, Gayatri also has numerous awards to her credit, including the Yuva Kala Bharathi from Bharat Kalachar and The Best Concert Award from the Music Academy in the years 2011 and 2013 and the Kalki Krishnamurthy Memorial Award, to name a few. Gayatri has performed around the world both individually as well as accompanying her guru Smt. Suguna Purushothaman. She also won The Ramabhadran Award from Tag Centre and The MLV Award instituted by CMANA in the year 2012. She is being accompanied by senior accompanying artists in this concert.
ALL ARE WELCOME

[kssr]

The concert is this evening. Promising to be a good one. Pls attend. It is free!!

[kssr]

Review of K.Gayathri's concert

By Dr.Shyam Krishnan

It was a scintillating experience to listening to Gayathri's concert. The reasons being- endowed with a rich melodious voice, strong foundation of rich padandharam, above all an intelligent brain which could develop an individual style of singing with beautiful manodharma. Added to that a group of accompanying artists who complimented to the rich listening experience.

She started with the lesser heard Ata tala varnam "Kanakangi" in Todi, sung in three kalams effortlessly. A soulful rendering of "Jaya Jaya Padmanabha" composition of Swati Tirunal in Ragam Manirangu with good kalpanaswaram followed. A melodious alapana of Sahana filled with details preceded Thyagaraja's "Raghupathe". A short virutham in Brindavana Saranga followed by Dikshithar's masterpiece Rangapura Vihara sent the listener into raptures. A short piece of Purandaradasa in Tilang was a lesser heard composition.

A nuances filled delineation of Madyamavathi lead on to Shyama Sastri ( one can call it the most beautiful composition in Madyamavathi). The rendering of the composition, the niraval and the kalpanaswaras were simply superb.

Then came the most interesting and intricate part of the concert, namely the Ragam, Tanam, and Pallavi. The Ragam chosen was Lalitha ( janya raga of Mayamalavagowla). The alapana and tanam spoke volumes of the manodharma the artist has. A Pallavi in a very intricate thalam-Tisra Jampa in Kanta nadai revealed the grasp she has imbibed from her Guru. The Pallavi sahithyam intelligently included the ragamalika swarams that were to follow- Pavani ( 41st Melakartha) and Sri.

Post Pallavi included a ragamalika- composition of her Guru Vidhushi Suguna Purushothaman .

Nishanth Chandran on the violin had very good rapport with Gayathri as well showed his own individual rich manodharma. His violin's rich sound added to the melodious playing.

Jayachandra Rao on Mridangam and Narayanamurthy on ghatam gave very good support and showed their individual mastery in the tani avartanam.

[kssr]

[kssr]

Someone mentioned that it is quite unusual to sing manirangu, brindavana saranga and madhyamavathi in the same concert because they are very close to each other.

"There are so many ragams- why bunch all three in one concert?"- she was murmering! I am not sure if it is such an odd thing to do.

I heard Gaytri instructing the sound technician on the mike, about the adjustments to be made. Listen to the artists' instructions. Do not adjust as per what the audience wants !! I could not help smiling. To whose benefit are they performing. Fundamental question, eh :-\

[Nick H]

Listen to the artists' instructions. Do not adjust as per what the audience wants !!

Bad news that a youngster thinks this way, especially a youngster who is no junior and bound to become a senior.

How should performers get instruction in the technical, non-musical, aspects of stage presentation and performance? In fifty years time will there be yet another generation of genii [?] who, after many decades, have no clue how to use, rather than abuse, the microphone in front of them, and no understanding of what happens after their voice travels down that wire --- assuming that it gets that far.

And how many generations will it take to produce sound "engineers" with a clue, who know that the audience comes first, but the performers must be looked after too? It is very, very hard for performers when they can't hear each other, and that must affect the performance, which, in turn, is going to satisfy the audience less.

[kvchellappa]

I now get to know why I was not getting to hear her audibly while the violin was rising over her voice. It is strange! Srimushnam made a similar comment to the opposite effect, to increse the volume and not mind the audience. He went on to say, 'Some may not even want mridangam to be played.' That was 7 years ago.