The Bhairavi raga alapana for this was satisfying. I find Sudha to always be an artist of great professionalism and humility, and an innate ability to make an amazing connection with the rasikas. In addition to the two ragas already included in the tanam, the kalpanaswaras contained Sekharachandrika and Priyadarshini also. Subrahmaniam January 01, Her musical mentor Lalgudi Jayaraman’s traits were on display that evening. Both Sathishkumar and Karthick not only excelled in the thani but also in their supportive roles right through the concert.
|Date Added:||16 December 2007|
|File Size:||57.44 Mb|
|Operating Systems:||Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X|
|Price:||Free* [*Free Regsitration Required]|
Sudha Ragunathan’s kutcheri proceeded on sedate lines. The thani was phenomenal, as was the morsing. Kurai Ondrum Illai, then Eppadi Padinaro. Sudha was impeded by some condition in her voice which did not allow the free flow of her musical manodharma even though she could negotiate the brigas as usual.
These sriamn up only once in a way and one is sure that this would also disappear soon.
We have noticed that you have an ad blocker enabled on your browser. TV Shows View all. The tillana of Lalgudi, a tricky adventure in Sindhu Bhairavi Adi Talam, was a plucky one concluding the performance.
Sudha Raghunathan’s Concert in SSVT, Washington DC –
Then came the usual crowd pleasers- Jagodharana, then some Tamil songs as requested bluntly by the audience! The impressive raga alapana was in two stages. Submit or click Cancel to register with another email ID.
Naeayana profusion of words acted as a deterrent as there was little elbow room to negotiate the niraval. Overall, it was a tremendous concert. The raga stood up grandly like a gopuram. Hi Guest Login Register. The raga alapana was splendid, as was Vittal Ramamurthy’s response. The next raguhnathan was the Khambodi raga alapana.
Doubts arose as to whether naraayana raga was Yamuna Kalyani or just a lighter version of Kalyani. If it was Yamuna Kalyani, Sudha Madhyama prayogas have a place in Yamuna Kalyani and as these were unavailable the doubts were allayed confirming that the Ragam was Kalyani. You need to be a registered user to enjoy the benefits of Rewards Program. The kalpanaswaras for this were crisp and short.
Display of virtuosity
Dhanyasi seems to be the choicest raga at the Music Academy this year, for almost all the participating artists have included a song in this raga. The Bhairavi raga alapana for this was satisfying.
nsrayana In addition to the two ragas already included in the tanam, the kalpanaswaras contained Sekharachandrika and Priyadarshini also. This progression of sangatis which brings out the aesthetics of the raga, was rendered in a fast pace with only kalpanaswaras at the pallavi. The ragamalika swaras were in a number of ragas such as Shanmukhapriya, Kedaragowla, Hamsanandhi, Saveri, Natakurinji, Sindhubhairavi and Madhyamavathi.
I think Vaidyanathan sir stole the show towards the end. In the composition, she sang swarams at the sudhha line of “purandarAdi sannuta gambhIranATya pradarshaka nAgalingam” right at “gambheera natya.
Chandrashekaram- Marga Hindolam 8. Support from the accompanying artists was appreciable.
Finally, the concert ended with thillana not sure of ragam and then mangalam. Didn’t receive verification mail?
These days, when a sense of proportion has almost deserted concert artists, Jayashri deserves to be specially applauded for this faculty which she showcased in her concert. A more thorough exploration of the raga at the tara stayi rishabam was awaited but the artist rounded off the alapana for reasons best known to her though this did not in raghunathhan dwarf the loftiness of the alapana.
Create New Save OR. The kutcheri was proceeding on sedate lines, the vigour and sprightliness associated with a Sudha concert was yet to come.
Their sruti fidelity was an outstanding feature.