Carnatica Brothers: On the Runway

Thodi Ata Thala Varnam ("Kanakangi") was a good start to the evening's concert. The majestic Nata was a great choice. Oothukadu's "Ananda narthana Ganapathim" was rendered in style with interesting patterns of swarams. Jaganmohini ("Sobillu") breezed past.

Ananda Bhairavi ("Marivere") did not make a mark. Yadhukula Kamboji ("Diwakara") was rendered well with varying speeds in the thalam at times. Supradeepam still lingers in my memory. "Vashiki Vahana" compensated for the lapses in the earlier songs.

Saramathi ("Mokshamugalatha") was the highlight of the evening. The raaga per se was rendered well. The song itself was rendered at a leisurely pace. RTP in Poorvi Kalyani in Khanda Jathi Triputa Thalam was followed up with Anulomam kramam. The pallavi again toured Hindolam, kaapi & behag. They concluded the concert with Hamsanandhi ("Venkatachala") & Thillana in Dhanyasi.

These guys are like an airplane on the runway... they are all set to take off for a bright future with some fine tuning. Wish you good luck guys !

Lalgudi School: Definition of Music

Huseini Varnam was a brilliant start to GJR Krishnan & Vijayalakshmi violin duet. A brief raaga of Kedaram ("Rama Neepai")was filled with bhava. Devagandhari had all the vibrant colors. It was very refreshing to hear Rudrapriya("Amba Paradevathe") after a long time. Surati ("Sri Venkatesa") was literally music to ears. Krishnan & Viji did a brief sketch of Suddha Desi & Bangala ("Manase theliyaka pothe") before arriving at Thodi ("Dachuko valena").

RTP in Vachaspathi. They set the bar high by setting the pallavi to Tisra Roopakam Misra Nadai. The whole exercise was a display of extraordinary manodharma sangeetham. The pallavi toured Brindavan Saranga, Chandrakauns, Yadhukula Kamboji, etc. They concluded the ocncert with few numbers in Kaapi , Jonpuri and a thillana in Madhyamavathi.

Its very gratifying to hear a high quality performance that's soothing to the soul.

Savitha Narasimhan : Vivid Imagination

Savitha started her concert with the Hamsadhwani Tana Varnam ("Jalajaksha") in two speeds. Durbar ("Yochana") of St.Thyagaraja was rendered off the textbook with hardly any imagination. Pantuvarali ("Appa Rama") flowed with relative ease because of Nirmal Narayan's sense of rhythm. It was when she got to Nata Kuranji ("E kalathilum") that she really warmed up. The Raaga per se was rendered well.

Jayanthasri ("Marugelara") was a prelude to Kalyani ("Nidhi Chala"). Savitha's approach to Kalyani as a second main item was a bit different. She delivered the raga followed up with the Krithi & Nereval. Her Nereval had a vivid imagination but she dumped all the effort by concluding the song without swara prastharam. I was amazed as to why a person would do that !!

Vasantha ("Ramachandram Bhavayami") was crisp & clear. Kiravani ("Kaligi unte") was pleasing and was the saviour of the concert. This time main item had the swara prastharam sans nerevel. I can’t understand this artist. Always seems to miss something.

She concluded her concert with lighter numbers in Maand, Saveri & Thiruppugazh.

Raagam: 5/10 Nereval: 5/10 Kalpanaswaram: 5/10 Sowkyam: 5/10 Pataantharam: 6/10 Gimmicks: 2/10 Seshtai: 0/10 Acting: 0/10 Commercial Approach: 4/10 Thani Avarthanam: Good. Voice Culture: 5/10 Overall: Miles to Go.

T M Krishna : Slow & Pleasing.

Krishna began his recital at Shiva Vishnu Temple, San Diego, CA with the Thodi Tana Varnam (Era Napai) in two speeds. Hamsadhwani (Vathapi Ganapathim) was rendered slow but with interesting patterns in swara prastharam. Harikamboji (Dinamani Vamsa) was rendered in a leisurely pace.

Anandhabhairavi (Marivere) krithi of Shyama shastri was a class apart. Krishna has a penchant for slow tempo. This was reflected even in rendering a brisk number like Bhogindrasayinam (Kunthavarali). Saveri (Sri Rajagopala) was next on cards. Saveri is one such raga that needs to be rendered by a person who has a penchant for slow & relaxed tempo and it aptly fitted his style. Krishna's imaginative phrases were creative. His adherence to the Patanthara deserves special mention.

Kalapramanam: I want talk about this factor in our kutcheris now-a-days. I have been seeing mridagist even senior mridangists speed up the thalam while the rendering of the song and during thani avarthanam. It was obvious that Krishna could not continue the song after the Thani but concluded without completing the phrase to conclusion. But here in San Diego, it was unclear whether it was Krishna or Arunprakash on the gas pedal.

RTP in Bilahari (Chatusra Triputa One kalai - 2.5 eduppu after samam) . The drag in the Thanam was barely visible. It felt like it was almost a speedy ragam at times. Pallavi toured Sahana, Vasantha, etc. There was no pralomam/vilomam kramam .. so it ended up being a pointless exercise.

The rest of the concert was allocated for lighter numbers. Before I get to the summary table, why am I forced to close my eyes when T.M.Krishna / Sanjay Subramaniam sing ? Day by day it worsens. As much as I love to hear them sing, I hate to see them while they sing. Its a disgrace that they have to resort to so much physical exercise (Seshtai) while singing. I really despise this behaviour. I bet they should be ashamed of their stage mannerism as much as they are proud of their sangeetha gyanam.

Raagam: 7/10

Nereval: 7/10

Kalpanaswaram: 7/10

Sowkyam: 8/10

Pataantharam: 8/10

Gimmicks: 5/10

Seshtai: 10/10

Acting: 10/10

Commercial Approach: 6/10

Thani Avarthanam: Good.

Voice Culture: 6/10

Overall: Very Pleasing.