Nisha rAjagOpAl@SKGS on Aug 21st,2016
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Vocal : Nisha Rajagopal
Violin : Shertalai Sivakumar
Mrudangam : Umayalpuram Mali
Kanjira : KV Gopalakrishnan
Concert Type : Nirvana - No concert to follow ,Ticketed Concert
Day/Duration : Sunday / 2 hours and 15 minutes
Hall : SKGS Mini, KamakOti Hall
Sabha/Occassion : Skgs gokulashtami celebrations
1. ninnukOri - varnam- vasantA- Tacchur Singaracharya
2. jaya jaya padmanabha- manirangu -ST
3. vAcAm agOcaruDani (R CS S) - atanA - Mysore Sadashiva Rao
5 mins alapana and 3 mins violin return
Using CS to indicate Cittaswaras - Thanks to badari who used this convention
4. manasulOni marmamulanu(R S)- hindOlam - T
9 mins alapana and 3 mins violin return
6 mins swaras
5A. slokham ... matham ... kamalAlaya ananthasowkhyam - KambOdhi
5B. kamalAmbikAyai - kAmbhOja - MD
6. kai vidamAttan kanakasabesan - valaci - kallAL ramanathan
7A. nidhichAla sukhamA (R N S T)- kalyani - T
10 mins alapana 6 mins violin return
mamata bandana yutha - 6 mins neraval
6 mins swaras
7B. tani for 10 mins
8. sarvam brahmam mayam - darbAri KanadA- SB
9. pillangOvia - mohanam - PD
10. Kannanai kAnbadeppO - hamasanandi + nattaikurinji +suddhadhanyasi+ Abhogi - composer unknown as per Lji
11. pavamAna
Nisha rAjagOpAl@SKGS on Aug 21st,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Nisha rAjagOpAl@SKGS on Aug 21st,2016
As i entered the vasantha varnam was half way and she gave a lovely start .The next manirangu krithi as #2 was bit rare to me in the postion drop of the concert . This krithi was well presented without a round of swaras . I am assuming she skipped swaras because the next atAna krithi was certainly uphill. THe atana alapana was well done ,the rare krithi had a lot of quick turns . One wonders if mysore sadashiva rao took some ideas from chEDE buddhi maanuraa of T and model this krithi vAcAmagOcaruDani on Lord Parthasarathi. I think after a round of shorter cittaswaras the kalpana swaras were also sung . Nisha presented brilliantly atana . The next hindOlam was janaranjakam at its best . Alapana was well done with a nice krithi rendition ,where she focussed with her soothing voice . There was adequate swaras in madhymakalam , the combo of atana and hindolam did work out very well.
An alapana followed in kAmBhOja ,that is what the phrase that was used by Muttuswami dikshitar in the kamalamba nava avarnam krithi . I liked it as it is a very serene krithi of MD ,KamalambA series adds a certain contemplation and stillness .There was no higher octave rush and as a slow filler this rare krithi was well presented by Nisha .Her astuteness in taking a slokham prior to stormBodhi krithi before a krithi was a bit of aruna sayeeram to me - certainly a good drop with the audience in mind. Aruna sayeeram of 90's came again with kai vida mAttan in valaci , I have not heard any vidushi who has sung this valaci krithi before aruna . When All suddamadhyama ragas are only sung prior to main, is there any big surprise what the prathi main raga would be . It was kalyani. I felt the kalyani alapana was methodical and the neraval could have also been more detailed . The rendition of the krithi was the best part . Swaras were measured and I guess the intention was perhaps to give a longer tail of thukkadas.
All the thukkadas had fairly heavy share of emote and it was well received by me . The darbAri emote was superb .The mohanam lite of dasar with the mlv drop of cheluva krishna was a great selection for the occassion of gokulashtami series-previous many numbers stayed away from Lord Krishna . The extraordinary ragamaliga tukkada kannanai kAnbadheppo was well presented not in the galloping voice pitch like say MLV or my latest MLVsque -Raji Gopalakrishnan , but I certainly liked her presentation.
The concert would have been atleast half an notch up if the violinist had given more raga bhavam especially during alapana returns. shertalai shivakumar was bit too docile during alapana return and the tonal quality was bit raw . The percussion team did not over bang and they went in a speed that neither pepped or dipped the concert - overall they did a satisfying job. In the tani KVG playing with a less volume was praiseworthy.
Nisha having learnt from her mother Vasundhara Rajagopal has also learnt from 4 other brilliant gurus. KSK, the extraordinary TRS,Suguna Varadachari and PSN . Certainly the gurus have given confidence to Nisha at various stages to present a widerspread of composers . More than the guru's influence there is also a very marked astuteness where even if she drops a very rare number she certainly keeps the pulse of the audience and drops a fairly familiar and popular number. Also I would put her as one of the most meticulous and extremely careful in stage craft , I was seated in the left side she perhaps used a shorter version of paper cards which were not visible for most time , no obvious A4 sheet papers or any gadgets . SHe turned the paper cards may be she wrote only the difficult lines of krithis or was it just the order of krithis.
I wish she can go for little longer cycles in presenting upper octave sangathis , I personally found a certain shrillness when she goes up and then there is immediate rest towards madhyamakAla sangathis . There is intense sowkhyam and emote in her presentation and she does not drop two consecutive googlies and loses the pulse of the audience which is quite recurring with many young vidwans and vidushi of today. I am not acclimitized that much with vidushi Vasundhara whom I have heard only twice (she was there to hear her daughter) but i see a share of the best of aruna sayeeram and raji gopalakrishnan in presentation aspect. I am also waiting for TRS mama flashes in next few years and I hope I am lucky to hear her singing the RTP.
Overall a very good to excellent concert for 2 hours and 15 minutes.
An alapana followed in kAmBhOja ,that is what the phrase that was used by Muttuswami dikshitar in the kamalamba nava avarnam krithi . I liked it as it is a very serene krithi of MD ,KamalambA series adds a certain contemplation and stillness .There was no higher octave rush and as a slow filler this rare krithi was well presented by Nisha .Her astuteness in taking a slokham prior to stormBodhi krithi before a krithi was a bit of aruna sayeeram to me - certainly a good drop with the audience in mind. Aruna sayeeram of 90's came again with kai vida mAttan in valaci , I have not heard any vidushi who has sung this valaci krithi before aruna . When All suddamadhyama ragas are only sung prior to main, is there any big surprise what the prathi main raga would be . It was kalyani. I felt the kalyani alapana was methodical and the neraval could have also been more detailed . The rendition of the krithi was the best part . Swaras were measured and I guess the intention was perhaps to give a longer tail of thukkadas.
All the thukkadas had fairly heavy share of emote and it was well received by me . The darbAri emote was superb .The mohanam lite of dasar with the mlv drop of cheluva krishna was a great selection for the occassion of gokulashtami series-previous many numbers stayed away from Lord Krishna . The extraordinary ragamaliga tukkada kannanai kAnbadheppo was well presented not in the galloping voice pitch like say MLV or my latest MLVsque -Raji Gopalakrishnan , but I certainly liked her presentation.
The concert would have been atleast half an notch up if the violinist had given more raga bhavam especially during alapana returns. shertalai shivakumar was bit too docile during alapana return and the tonal quality was bit raw . The percussion team did not over bang and they went in a speed that neither pepped or dipped the concert - overall they did a satisfying job. In the tani KVG playing with a less volume was praiseworthy.
Nisha having learnt from her mother Vasundhara Rajagopal has also learnt from 4 other brilliant gurus. KSK, the extraordinary TRS,Suguna Varadachari and PSN . Certainly the gurus have given confidence to Nisha at various stages to present a widerspread of composers . More than the guru's influence there is also a very marked astuteness where even if she drops a very rare number she certainly keeps the pulse of the audience and drops a fairly familiar and popular number. Also I would put her as one of the most meticulous and extremely careful in stage craft , I was seated in the left side she perhaps used a shorter version of paper cards which were not visible for most time , no obvious A4 sheet papers or any gadgets . SHe turned the paper cards may be she wrote only the difficult lines of krithis or was it just the order of krithis.
I wish she can go for little longer cycles in presenting upper octave sangathis , I personally found a certain shrillness when she goes up and then there is immediate rest towards madhyamakAla sangathis . There is intense sowkhyam and emote in her presentation and she does not drop two consecutive googlies and loses the pulse of the audience which is quite recurring with many young vidwans and vidushi of today. I am not acclimitized that much with vidushi Vasundhara whom I have heard only twice (she was there to hear her daughter) but i see a share of the best of aruna sayeeram and raji gopalakrishnan in presentation aspect. I am also waiting for TRS mama flashes in next few years and I hope I am lucky to hear her singing the RTP.
Overall a very good to excellent concert for 2 hours and 15 minutes.
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
Re: Nisha rAjagOpAl@SKGS on Aug 21st,2016
Shri rajeshnat ,
As usual an exhaustive review with minute observations. Thanks.
With wishes,
Thanjavooran
25 08 2016
As usual an exhaustive review with minute observations. Thanks.
With wishes,
Thanjavooran
25 08 2016
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hnbhagavan
- Posts: 1664
- Joined: 21 Jun 2008, 22:06
Re: Nisha rAjagOpAl@SKGS on Aug 21st,2016
Are the concerts at SKGS held only in mini hall for Gokulastami series?
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jodha
- Posts: 146
- Joined: 07 Aug 2009, 12:32
Re: Nisha rAjagOpAl@SKGS on Aug 21st,2016
For crowd pullers only in the main hall.probably if the concerts are free more crowd may come.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Nisha rAjagOpAl@SKGS on Aug 21st,2016
Many years back say till 2006 or so gokulashtami series was conducted in Main hall irrespective of the status of the artist in pulling crowd . There was a a temporary screen in main hall
Nowadays On the morning in the paper you see SKGS main/kamakoti hall is mentioned . If the crowd has crossed mini , the main is opened . Else push back to Mini. Weekday concerts - very unlikely for a concert to cross kamakoti hall seating , but weekend may or may not happen.I am particularly happy that they still maintain a same rate for the daily concerts irrespective of the hall which is a good strategy.
Nowadays On the morning in the paper you see SKGS main/kamakoti hall is mentioned . If the crowd has crossed mini , the main is opened . Else push back to Mini. Weekday concerts - very unlikely for a concert to cross kamakoti hall seating , but weekend may or may not happen.I am particularly happy that they still maintain a same rate for the daily concerts irrespective of the hall which is a good strategy.