Vocal: Manasi Prasad
Violin: M.Rajeev
Mrudangam: Erode Nagaraj
Kanjira: Nerkunam Shankar
(4-30pm at Sasthri Hall for Shanthi Arts Foundation & Endowments - SAFE)
1. jvalath kAnthi - slokam on shAradhA dhEvi in kalyANi
2. vanajAkshi - kalyANi varNam - kaNda jAthi ata thALam - Pallavi
Gopala Iyer
3. shrI mahA gaNapathE - nAttai - Adhi - Mayuram Visvanatha Sasthri
4. tholi janma - bilahari - kaNda chApu - Thyagaraja
5. nandhasuthA - rOhiNi - rUpaka chApu - Swathi Thirunal
6. kamalAptha kula - brindhAvani - Adhi - Thyagaraja
7. abhi mAnamuthO - shaNmukhapriyA - Adhi - Mysore
Vasudhevacharya
8. kshaNa mathunA - sumanEsa ranjani - Adhi - Jayadheva
9. sAyankAlE vanAnthE - slOkam - hamIr kalyANi - mOhanam -
nIlAmbari - sindhu bhairavi
10. kalyANa gOpAlam - sindhu bhairavi - kaNda chApu - Narayana
Theertha
11. thillAnA - madhuvanthi - Adhi - Lalgudi Jayaraman
The recital of Manasi, a disciple of Shri R.K.Padmanaba, was enjoyable and made the evening pleasant. She has a great voice which obeys her musical mind which is pregnant with creativity and clear rendition.
After singing the pallavi, anu pallavi and chitta swaram of the varNam in two speeds, she increased the kAlapramANam of charaNam a bit faster (the speed in between the given and next) and rendered chiru navvu with clear madhyama kAla phrases for the first 3 beats, which normally adds colour in all ata thALa varNams.
The very first time I heard shrI mahA gaNapathE was in 1985 in Erode. The krithi of MVS sung by MVS (Maharajapuram V.Santhanam) was the first cassette I borrowed (!) when we bought a new tape recorder.
Alapana in bilahari contained good grip and the control she has in her voice, been instrumental to sing some "instrumental"
Concert of Manasi Prasad – 12-12-08
-
Sreeni Rajarao
- Posts: 1288
- Joined: 04 Feb 2010, 08:19
-
keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Nandasuta tava jananam was originally tuned in Kuranji. Semmangudi used to sing it excellently.
Why should we mangle songs of established tunes by putting them to new notation? There is a big chunk of compositions without tunes. Rohini (the raga) could have graced some of them, instead of encroaching onto Kurinji's already endangered little patch.
Why should we mangle songs of established tunes by putting them to new notation? There is a big chunk of compositions without tunes. Rohini (the raga) could have graced some of them, instead of encroaching onto Kurinji's already endangered little patch.