Ranjani Gayatri - Vocal
HN Bhaskar - Violin
Manoj Siva _ mridhangam
Anirudh Atreya _ Khanjira
Nisha - Tambura
Slogam followed by Maate Malaya - Khamas
Sharanu Siddi vinayaka - Saurashtram
Maru Balka - Sri ranjani
Mayamma - Ahiri
Thondru nighazhnda - Bharavi-Bharathi
Sri Satya narayana -Subha Panthu varali
Thaye tripura sundari - Sudda saveri
Thiruvadi Charanam - Khamboji
Neekela naa thalamu- Devamanohari
RTP _saraswati durga lalita - Saraswati veena pustaka dharini hari raksha kalalayamam lalithe maathe kanaka paahi -
Enna solli azhaithaal - kanada
Meera Bhajan Megh mmalhar
Ranjale ghanjale - Abhang revati equivalent in hindustani
Tirupugazh - Huseni
Pavamaana
A 4 hour concert for Independence day organised by Fine Arts
A very ordinary concert.
Melody was missing In their quest for speed ,shruti was lost many times.
It was obvious they were not prepared.
Coordination lacking missing lyrics or not clear in diction.
I always had tears when i listen to mayama and tiruvadi .yesterday it was like why are they in hurry ,why so fast rendering?
It was criminal when they forgot the lyrics of Tondru nigazhnda bharatiyar song after announcing they were singing it for Independence day - despite keeping ipad in front.What a shame.
I am against abhangs in any concert - these abhangalist ( right Harimau?) sang a tuneless abhang trying hindustani touches and unclear lyrics.
I felt they are hyped too much!
Hn Bhaskar Manoh SIva and Anirudh were at their best - Thani for half an hour,but when main singers were singing below average then what can they do.
A disappointing concert.
Ranjani & Gayatri Fine Arts Mumbai 15 /8
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hnbhagavan
- Posts: 1664
- Joined: 21 Jun 2008, 22:06
Re: Ranjani & Gayatri Fine Arts Mumbai 15 /8
I find the sisters are in great hurry while singing.The neravals which they sing almost becomes more like a competition between the sisters.Same thing with Swara singing.I find the applause they receive and the jam packed halls are responsible for this.
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arunsri
- Posts: 249
- Joined: 04 Feb 2010, 13:07
Re: Ranjani & Gayatri Fine Arts Mumbai 15 /8
This is not to start a debate on pros and cons of this concert. But as a listener, I would like to say that if speed for the 'reason' for calling this concert as bad, artistes like SSI, GNB, Radha-Jayalakshmi and several others also fall in to this category, where in the kritis [most of them] are rendered in decent speed.
In this concert - mAyamma was in slow tempo, sri satyanArAyaNam was also in chowka kAlam. thiruvadi sharaNam was also in slow speed.
bhavam was a casualty at a couple of places- but i would really not paint the concert as ordinary.
Some of the pluses.
Very apt shlokam on bhAratha mAta at the start of the concert - leading to mAtE
excellent power packed mArubalka... the percussion bench was awesome. How Manoj Siva played for the anupallavi was outstanding. Yes the song was in good speed, it was item # 3,so probably they pepped up the speed a bit
The bhAratiyAr song was set in a kriti format in Adi tALam, unlike the DKJ/DKP version in Adi - tishra gati {this is just for infomration, not a + or -]
alapana of subhapantuvarali was nice - rather than being melancholy which one is used to most of the times. The shruti bedham effortlessly into
B.Saranga was outstanding. Similarly the seamless shruti bedham swaras in mOhanam and b. sAranga were unexpected.
i never felt the sAhityam was a casualty, may be in the bhAratiyAr song on one occasion.
kAmbhOji - mandhra sthAyi AlApana phrases were great - in fact some neraval phrases in kAmbhOji were very soaked in bhAvam
the pallavi was scholarly - the sahitya was 'saraswati vINApustaka dhAriNIm [saraswati] harivakshasthalAlayE lalithE [lalitha] mAtE kanaka durgE mAmpAhi [durgA] - khaNDa aTa [2 kaLai]. they may have sung this in the past, which I am sure they have- but the seamless transition across ragas, during alapana [relatively easy if you pause, but if you sing w/o pauses with one singing durga, other going to saraswati, then the other to lalithA - it is very hard, tremendous concentration needed]. the pallavi itself, trikAlam exercises and the swaras were all scholarly, masterly and technically flawless. The way the sisters sang the word 'mAtE' in durga after the word lalithE in lalitha with a gap of 1 finger count, was highly commendable.
the 2 min shlokam in shanmukhapriya was divine.... the viruttam itself was good, but the shaNmukhapriya encapsulated the raga in such a short time.
i am no fan of bhajans and abhangs.. but if the sisters have sung classical carnatic music for 3 hrs 40 mins - they and the other members of the audience have the right to sing a couple of lighter pieces of their choice. Here, I would like to say - that the door keeper in the upper lever where I was sitting was seen singing the abhang.. After the concert when I asked him on that- he said - 'this is our song [marathi], felt nice when i heard this'. you have touched the common man through your music - I think that is what music is expected to do.
the mIra bhajan was 'barasE badariyA' - in mEgh malhAr.
the abhang of tukAram was 'jEkA ranjali'' in rAga bairAgi
For both these, the percussionists exhibited great virtuosity and played with gay abandon -very HM style of playing.
SO many composers represented in the concert.
this is just to put another listener's perspective on the concert. of course - opinions differ.
In this concert - mAyamma was in slow tempo, sri satyanArAyaNam was also in chowka kAlam. thiruvadi sharaNam was also in slow speed.
bhavam was a casualty at a couple of places- but i would really not paint the concert as ordinary.
Some of the pluses.
Very apt shlokam on bhAratha mAta at the start of the concert - leading to mAtE
excellent power packed mArubalka... the percussion bench was awesome. How Manoj Siva played for the anupallavi was outstanding. Yes the song was in good speed, it was item # 3,so probably they pepped up the speed a bit
The bhAratiyAr song was set in a kriti format in Adi tALam, unlike the DKJ/DKP version in Adi - tishra gati {this is just for infomration, not a + or -]
alapana of subhapantuvarali was nice - rather than being melancholy which one is used to most of the times. The shruti bedham effortlessly into
B.Saranga was outstanding. Similarly the seamless shruti bedham swaras in mOhanam and b. sAranga were unexpected.
i never felt the sAhityam was a casualty, may be in the bhAratiyAr song on one occasion.
kAmbhOji - mandhra sthAyi AlApana phrases were great - in fact some neraval phrases in kAmbhOji were very soaked in bhAvam
the pallavi was scholarly - the sahitya was 'saraswati vINApustaka dhAriNIm [saraswati] harivakshasthalAlayE lalithE [lalitha] mAtE kanaka durgE mAmpAhi [durgA] - khaNDa aTa [2 kaLai]. they may have sung this in the past, which I am sure they have- but the seamless transition across ragas, during alapana [relatively easy if you pause, but if you sing w/o pauses with one singing durga, other going to saraswati, then the other to lalithA - it is very hard, tremendous concentration needed]. the pallavi itself, trikAlam exercises and the swaras were all scholarly, masterly and technically flawless. The way the sisters sang the word 'mAtE' in durga after the word lalithE in lalitha with a gap of 1 finger count, was highly commendable.
the 2 min shlokam in shanmukhapriya was divine.... the viruttam itself was good, but the shaNmukhapriya encapsulated the raga in such a short time.
i am no fan of bhajans and abhangs.. but if the sisters have sung classical carnatic music for 3 hrs 40 mins - they and the other members of the audience have the right to sing a couple of lighter pieces of their choice. Here, I would like to say - that the door keeper in the upper lever where I was sitting was seen singing the abhang.. After the concert when I asked him on that- he said - 'this is our song [marathi], felt nice when i heard this'. you have touched the common man through your music - I think that is what music is expected to do.
the mIra bhajan was 'barasE badariyA' - in mEgh malhAr.
the abhang of tukAram was 'jEkA ranjali'' in rAga bairAgi
For both these, the percussionists exhibited great virtuosity and played with gay abandon -very HM style of playing.
SO many composers represented in the concert.
this is just to put another listener's perspective on the concert. of course - opinions differ.