Suryaprakash@Olympia Navalur on Aug 20th,2016
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Vocal : Suryaprakash
Violin : MA Sundareswaran
Mrudangam : Vijay Natesan
Kanjira : Madipakkam Gopalakrishnan
Concert Type : Nirvana - No concert to follow ,Ticketed Concert
Day/Duration : Saturday / 3 hours and 25 minutes inclusive of few rounds of speech for 10 mins
Hall : Olympia Opaline Banquet Hall ,OMR , Navalur
Sabha : Rasikapriya
0. gajavadana karunA - shree ranjani - psivan
1. tatvamaria tharamA (RS S) - reetigowlai - psivan
2. arunAchala nAdham (R) - sArangA -MD
5 mins alapana and 3 mins violin return
3. manavyAla starting from ganudaina (R,S) - nalinakAnthi - T
3 mins alapana with no violin retun
7 mins swaras
4. KsheerasAgarA(R) - devagAndhari -T
7 mins alapana and 4 mins violin return
5. aRulseyya venum ayya (R ,S)- rasikApriya - KI
8 mins alapana and 3 mins violin return
6 mins swaras
6A. kAna kann kOti vendum (R N S T)- kAmbOdhi - psivan
19 mins alapana and 4 mins violin return
7 mins neraval in mAnikkam vairam undhan navaratna
9 mins swaras
6B. tani for 13 mins
7. RTP in mishra shivaranjani and Kanda Triputa
dedicated to MS amma on occassion of centenary.The pallavi line was
maNi vannA malaiappA govindA hari
sadA aRul mazhai Pozhi
RTP was for 25 mins and there was no violin return for alapana
swara ragamaliga in mishra shivaranjani + kApi + sindhubhairavi
8. aaj AayE shyam mohan (R) - pahadi -ST
2 mins alapana
9A. viruththam - KAdalAgi kasindhu - BhAgeshri +
nAdhan nAmam - shuruTTi -
9B. shivaperuma kripai vEndum - shurutti - GKB
10. mangalam - nee nAma roopamulaku + vazhiya - sowrashtram + madhyamavati
Suryaprakash@Olympia Navalur on Aug 20th,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Olympia Navalur on Aug 20th,2016
It is MadrasDay and MadrasWeek celebrations here in August 2016 at Chennai .There are lovely writeups coming full page every day to celebrate Madras in The Hindu.This part of Chennai- OMR is very much away from the epicenter of music , more crowded with IT companies and tall rise residential buildings . Olympia Opaline is one of those big residential apartments in Navalur in OMR , with atleast 7 to 10 blocks , each block is 20 or 25 stories high. There is enough market , more importantly a *commercial ticketed concert market * is indeed there at OMR and interestingly quite a high count was there in the hall that too considering it is ticketed concert .
The start in shree ranjani in their ground zero basement AC hall was apt .A young boy from their place(Bhuvan or Pavan) sang a sparkling krithi gajavadana karunA.After brief introduction by sabha patron, Suryaprakash continued with tatvam aria tharama in reetigowlai with an arresting swaras .He followed up with a detailed alapana in sAranga . SAranga heaviness in sampradaya continued with a dikshitar krithi on Lord arunchala , certainly a very good rendition - I was happy to hear an alapana and krithi instead of at times the #2 drop of only krithi which in my opinion does not give a great experience unless you take a very big krithi.
Nalinakanthi alapana was well done and without violin return suryaprakash jumped into his strength of rendering faster sarvalaghu beauties.With parur school nalinakanthi is chiseled to such tonic perfection .The long swarakalpana patterns was exemplary with a beautiful return at the end by Madras Sundareswaran showing his Madras Ananatharaman and Madras gopalakrishnan training.
Power cut but not POWER cut
-----------------------------------------
I was seated in 6th or 7th row facing more the mrudangist , after a round of alapana in the usually leisurely and sedate devagandhari by suryaprakash , the power went off .It was pitch dark and suddenly it was a chamber concert .Chamber concert for a hall that had about 15 to 20 rows of rasikas with a certain distance from podium to the first row . MAS played a concise devagandhari alapana giving light to devagandhari and suryaprakash ignited further with a long krithi ksheera sagara . I moved to the second row as I wanted to hear the violin too .Roughly 14 minutes of krithi with ksheera sagara was sung with so much of open throated vocal honesty. A 4 min violin alapana and a 14 min krithi all in chamber setting was still audible that too after the rollicking speed of nalinakanthi.The sabha patron came at the end of devagandhari and said the DC generator will be on but it will take 10 mintues more time to setup, he offered and said the team can wait for that time or they can sing . The team - all of them in stage said that they will continue and more importantly some one sitting far behind in the last few rows said we can hear your devagandhari and one of them asked to repeat again .
Thank God I was not put to more of power cut misery that too the hall being in the basement . The upper octave pleas in the line tAraka rama in devagandhari ksheerasagara was heard possibly not by Lord Rama but by ELectricity Board Poosari.The power came back at the gap between the devagandhari and the subsequent rasikapriya .
A lovely rasikapriya followed infact among all the krithis that he sang i loved this the most . SO much of sunaada vinodhan tanjore s kalyanaraman aura in the krithi rendition of arul seyya . The brigha embellishments were intrinsically filled with raga bhavam without an iota of yell with a sharp vivadi drag hear and there - just like SKR . Rasikapriya swaras were very creative with some rapid rolls alternating in arul seyya and at times rasikapriya - i think there was certainly lot of swaraksharam especially when he handled rasikapriya .
The KAmbodhi was a prancheena carnatic rendition . The contours of alapana was very detailed for 19 mins and the krithi , neraval and swaras were well done for this biggie krithi kAna kann kOti . I missed a litttle more dose of swaras but it was not a big drop in manodharmam with some finest laya poruttam patterns by vijay with lot of polished support by the kanjira artist gopalakrishnan.
Madras found a new texture in the pallavi . The ragam was mishra shivaranjani . The hueness of (mishra or unmishra) shivaranjani is always high on intense melancholy and with a brilliant support by Parur school especially with cut bowing techniques , the mishra shivaranjani was well received by the audience inclusive of me . Alapana especially few tara sthayi smooth sinusoidal curve sangathis were superb .
Suryaprakash announced the pallavi line was dedicated to ms amma on her centenary. The purvangam line maNi vannA malaiappA govindA hari with a higher degree of accentuation in upper octaves in the line govinda hari .The lovely slide in uttarangam in sadA aRul mazhai Pozhi had lovely muse . The pallavi line was both rhythmic and poetic and he did a very careful trikaalam to not disturb the intense emote of the raga mishrashivaranjani. In the pallavi swaras I liked the kapi more , i wish he shuttled with more sindhu that too considering it was the day of celebration of badminton ace sindhu. In the tukkadas I liked the bhageshri part of tevaram the most, the ghazalish drop of swathi tirunal in pahadi was more well received by the cosmopolitan audience .
MAS was a thyagi who intensely sacrificed his turns by giving more singing time to vocalist . He played just 4 minutes of alapana return in kambOdhi invoking still a long round of applause and the way he played nalinakanthi and shivaranjani was more heartfelt with special oomph with a rich Parur tonal texture. I also liked his gesture of not playing alapana in shivaranjani rtp as the clock was well past 9 pm. The mrudangam artist Vijay natesan from the land of EK Duje KeliyE was brimming with confidence .I particularly liked his energy that stayed firm even till the tere mere Beech mein in shivaranjani . Tani was handled very well by both artists , for a change we donot have a young kanjira artist in circuit, the not so young Gopalakrishnan comes sharply and leaves sharply at discreet points - that made it more continuous laya nAdham from vijay natesan who has learnt from a guru?? in mumbai and now trained under Shri TV Gopalakrishnan.
For the areas in chennai say from Perungudi, Sholinganallur,thoraipakkam, Navalur, IT park in siruseri, southern belt beyond tiruvanmiyur in ECR- those residents have access issues to consume live Carnatic Music .It is nice that Rasikapriya sabha has come up in OMR that too 6pm start it gave all of us more playtime to enjoy ,rather in madras slang enzzzzzzzoy .
Overall an excellent to outstanding concert for 3 hours and 25 mintues inclusive of 10 mins speech.
The start in shree ranjani in their ground zero basement AC hall was apt .A young boy from their place(Bhuvan or Pavan) sang a sparkling krithi gajavadana karunA.After brief introduction by sabha patron, Suryaprakash continued with tatvam aria tharama in reetigowlai with an arresting swaras .He followed up with a detailed alapana in sAranga . SAranga heaviness in sampradaya continued with a dikshitar krithi on Lord arunchala , certainly a very good rendition - I was happy to hear an alapana and krithi instead of at times the #2 drop of only krithi which in my opinion does not give a great experience unless you take a very big krithi.
Nalinakanthi alapana was well done and without violin return suryaprakash jumped into his strength of rendering faster sarvalaghu beauties.With parur school nalinakanthi is chiseled to such tonic perfection .The long swarakalpana patterns was exemplary with a beautiful return at the end by Madras Sundareswaran showing his Madras Ananatharaman and Madras gopalakrishnan training.
Power cut but not POWER cut
-----------------------------------------
I was seated in 6th or 7th row facing more the mrudangist , after a round of alapana in the usually leisurely and sedate devagandhari by suryaprakash , the power went off .It was pitch dark and suddenly it was a chamber concert .Chamber concert for a hall that had about 15 to 20 rows of rasikas with a certain distance from podium to the first row . MAS played a concise devagandhari alapana giving light to devagandhari and suryaprakash ignited further with a long krithi ksheera sagara . I moved to the second row as I wanted to hear the violin too .Roughly 14 minutes of krithi with ksheera sagara was sung with so much of open throated vocal honesty. A 4 min violin alapana and a 14 min krithi all in chamber setting was still audible that too after the rollicking speed of nalinakanthi.The sabha patron came at the end of devagandhari and said the DC generator will be on but it will take 10 mintues more time to setup, he offered and said the team can wait for that time or they can sing . The team - all of them in stage said that they will continue and more importantly some one sitting far behind in the last few rows said we can hear your devagandhari and one of them asked to repeat again .
Thank God I was not put to more of power cut misery that too the hall being in the basement . The upper octave pleas in the line tAraka rama in devagandhari ksheerasagara was heard possibly not by Lord Rama but by ELectricity Board Poosari.The power came back at the gap between the devagandhari and the subsequent rasikapriya .
A lovely rasikapriya followed infact among all the krithis that he sang i loved this the most . SO much of sunaada vinodhan tanjore s kalyanaraman aura in the krithi rendition of arul seyya . The brigha embellishments were intrinsically filled with raga bhavam without an iota of yell with a sharp vivadi drag hear and there - just like SKR . Rasikapriya swaras were very creative with some rapid rolls alternating in arul seyya and at times rasikapriya - i think there was certainly lot of swaraksharam especially when he handled rasikapriya .
The KAmbodhi was a prancheena carnatic rendition . The contours of alapana was very detailed for 19 mins and the krithi , neraval and swaras were well done for this biggie krithi kAna kann kOti . I missed a litttle more dose of swaras but it was not a big drop in manodharmam with some finest laya poruttam patterns by vijay with lot of polished support by the kanjira artist gopalakrishnan.
Madras found a new texture in the pallavi . The ragam was mishra shivaranjani . The hueness of (mishra or unmishra) shivaranjani is always high on intense melancholy and with a brilliant support by Parur school especially with cut bowing techniques , the mishra shivaranjani was well received by the audience inclusive of me . Alapana especially few tara sthayi smooth sinusoidal curve sangathis were superb .
Suryaprakash announced the pallavi line was dedicated to ms amma on her centenary. The purvangam line maNi vannA malaiappA govindA hari with a higher degree of accentuation in upper octaves in the line govinda hari .The lovely slide in uttarangam in sadA aRul mazhai Pozhi had lovely muse . The pallavi line was both rhythmic and poetic and he did a very careful trikaalam to not disturb the intense emote of the raga mishrashivaranjani. In the pallavi swaras I liked the kapi more , i wish he shuttled with more sindhu that too considering it was the day of celebration of badminton ace sindhu. In the tukkadas I liked the bhageshri part of tevaram the most, the ghazalish drop of swathi tirunal in pahadi was more well received by the cosmopolitan audience .
MAS was a thyagi who intensely sacrificed his turns by giving more singing time to vocalist . He played just 4 minutes of alapana return in kambOdhi invoking still a long round of applause and the way he played nalinakanthi and shivaranjani was more heartfelt with special oomph with a rich Parur tonal texture. I also liked his gesture of not playing alapana in shivaranjani rtp as the clock was well past 9 pm. The mrudangam artist Vijay natesan from the land of EK Duje KeliyE was brimming with confidence .I particularly liked his energy that stayed firm even till the tere mere Beech mein in shivaranjani . Tani was handled very well by both artists , for a change we donot have a young kanjira artist in circuit, the not so young Gopalakrishnan comes sharply and leaves sharply at discreet points - that made it more continuous laya nAdham from vijay natesan who has learnt from a guru?? in mumbai and now trained under Shri TV Gopalakrishnan.
For the areas in chennai say from Perungudi, Sholinganallur,thoraipakkam, Navalur, IT park in siruseri, southern belt beyond tiruvanmiyur in ECR- those residents have access issues to consume live Carnatic Music .It is nice that Rasikapriya sabha has come up in OMR that too 6pm start it gave all of us more playtime to enjoy ,rather in madras slang enzzzzzzzoy .
Overall an excellent to outstanding concert for 3 hours and 25 mintues inclusive of 10 mins speech.