MA.If you want a serene divine spirit enhancing aura in a busy music season You will get it all in V S concert.Muhari is worth a million -I could not understand when her guru Sri.S.Rajam used to say 'You must derive silence in Music"One will find the meaning as you start listening to her progs more &more.unique,uncompromising &innovative.You can realise she is on a teaching mode demonstrating mentorship .Listener has to keep enhancing his/her own skill to listen/learn. Urmika no.of HMB wrongly printed as OVK.Her complicated tala structure(if you follow putting the beats you will lose the fun of witnessing-)she made it appear simple by her effortless mastery over laya. Ganesh Prasad gentle bow added lustre.
*In Tamil isai sangam , her Todi abibrayangal I could hear a rare sangithi of ALB as they would in "Dasukoluvana".Mridangam sound was too much.
Dr.Vijayalakshmy Subramaniam
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satyabalu
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Re: Dr.Vijayalakshmy Subramaniam
Hindu review:-Disciplined singing is Vijayalakshmy Subramaniam ’s forte. One cannot expect hyperboles or unexpected twist or turn in her offerings. But, her music will be extremely comforting to the senses and stimulating to the intellect.
Nattai was at its best in Vijayalakshmi’s opening kiriti ‘Swaminatha Paripalaya’ (Muthuswami Dikshitar) with a calculated part of swarakalpana added to it.
Her raga alapanas for Latangi, Mukhari and Sankarabharanam, the main, were of various proportions to match the tempo of her recital.
Latangi essay was inducted immediately after a sober ‘Nadasudha Rasa’ in Arabhi (Tyagaraja).
Latangi went through impressive passages with the usual stop-overs and extensions at right junctures. PatnamSubramania Iyer’s ‘Marivere’ and the niraval-swaras on ‘Daraloni Nee Sati’ moved eloquently and the kuraippu swaras were centered on ‘panchamam’ before conclusion.
A rather fine and short sketch of Mukhari came as a preface for Subbaraya Sastri’s serene composition ‘Ema Ninne.’ To pep up the spirits, Vijayalakshmi opted for a vivacious Urmika (‘Kalaratri’ by Harikesanallur Muthiah Bhagavatar) adding a fair dose of swarakalpana. Gratifyingly, the Ragam-Tanam-Pallavi sessions, nowadays in the Academy programmes, is provided ample space in most of the concerts unlike earlier.
Sankarabharanam was spread out with the expected gaiety and presented in two parts followed by tanam. The pallavi, set to tala Panchamukhi ‘Narasimha Nannubroavae’ enjoyed colourful ragamalika – Shanmukhapriya, Abhogi, Suddhadhanyasi, Lalitha and Brindavana Saranga – in the swara section.
B.U. Ganesh Prasad was a picture of perfection in his replies to ragas and swaras with equal discipline.
Melakkaveri Balaji and D.V. Venkatasubramanyam on mridangam and ghatam, respectively, were equally disciplined in their support.iew:-
Nattai was at its best in Vijayalakshmi’s opening kiriti ‘Swaminatha Paripalaya’ (Muthuswami Dikshitar) with a calculated part of swarakalpana added to it.
Her raga alapanas for Latangi, Mukhari and Sankarabharanam, the main, were of various proportions to match the tempo of her recital.
Latangi essay was inducted immediately after a sober ‘Nadasudha Rasa’ in Arabhi (Tyagaraja).
Latangi went through impressive passages with the usual stop-overs and extensions at right junctures. PatnamSubramania Iyer’s ‘Marivere’ and the niraval-swaras on ‘Daraloni Nee Sati’ moved eloquently and the kuraippu swaras were centered on ‘panchamam’ before conclusion.
A rather fine and short sketch of Mukhari came as a preface for Subbaraya Sastri’s serene composition ‘Ema Ninne.’ To pep up the spirits, Vijayalakshmi opted for a vivacious Urmika (‘Kalaratri’ by Harikesanallur Muthiah Bhagavatar) adding a fair dose of swarakalpana. Gratifyingly, the Ragam-Tanam-Pallavi sessions, nowadays in the Academy programmes, is provided ample space in most of the concerts unlike earlier.
Sankarabharanam was spread out with the expected gaiety and presented in two parts followed by tanam. The pallavi, set to tala Panchamukhi ‘Narasimha Nannubroavae’ enjoyed colourful ragamalika – Shanmukhapriya, Abhogi, Suddhadhanyasi, Lalitha and Brindavana Saranga – in the swara section.
B.U. Ganesh Prasad was a picture of perfection in his replies to ragas and swaras with equal discipline.
Melakkaveri Balaji and D.V. Venkatasubramanyam on mridangam and ghatam, respectively, were equally disciplined in their support.iew:-