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Birthdays & Anniversaries
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Birthdays & Anniversaries
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Birthdays & Anniversaries
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N Bhagyalakshmi
N Bhagyalakshmi is an established vocalist who has been instrumental in coaching students at Kalakshetra in music for a decade now. A versatile artist, she strives to perfect her art and has accompanied many leading dancers with vocal support. She now teaches full-time at Kalakshetra. Bhagyalakshmi is also the spouse of the well-known violinist Natarajan Sigamani. Her passion for Carnatic music is evident in this conversation with Sruti.
Can you describe your background in music?
I pursued my diploma in Veena, training under Professor Rajeswari at Kalakshetra. At the same time, I also began studying music and completed my B.A in music. I wrote the Madras University exams for the Sangeetha Siromani. Back then, it was equivalent to an M.A in music.
When did you start singing for dance ? Who were the artists you accompanied early in your career?
I began singing for Krishnaveni Lakshmanan after I finished my diploma in Veena. She gave me many opportunities. I was also accompanying the dancer Sujatha Srinivasan. I then had this break singing for Malavika Sarukkai--in 1992. There was no looking back. I never imagined I would sing for her permanently but our association lasted almost eleven years. In a month, we were busy with performances for at least fifteen days! I learnt a lot from Malavika. She is a thorough professional, and I appreciate that about her. Be it rehearsals, or the routine and her practice, she was very inspiring.
Any memorable teachers you particularly recollect learning from?
My most memorable experience was learning from Dr. Balamuralikrishna. He was a fantastic teacher and gave me many helpful hints on how to sing a particular ragam, how the ‘ucharippu’ is most important in a song and so on. At a festival in Narada Gana Sabha, Mahalakshmi, a student of Kalakshetra, performed only Balamuralikrishna’s items. I had the opportunity then to learn from him again for the kutcheri. After I left Kalakshetra, I continued my training with Charumathi Ramachandran and I learned a lot of her repertoire. At this point, I also began to accompany her sister, Lakshmi Vishwanathan in her dance performances. I also trained under Vidwan Bombay Ramachandran, imbibing a many kritis and varnams from him. What I learnt from these gurus has really helped me evolve as a musician and helps me even now as a teacher. From my mother, who was my first teacher, to Bombay Ramachandran, they have all guided me to travel this far. I would like to specially mention Rajaram Sir who was my mentor, my father-like figure. Of course, my most important pillar of support throughout has been my husband, who is also a violinist and encourages me in everything I do.
At one point you were very actively singing for dance and then took a break. Was that a conscious decision?
It was not really a conscious decision. My daughter was born in 2005 and I had already stopped singing for Malavika in 2004. Between 2005 and 2007, I looked after my child, hence did not perform anywhere. It was a dilemma for me as I was torn between singing for dance and taking care of my child. However, the transition to teaching came smoothly and happened naturally. In 2007, Leela Samson asked me if I would like to teach at Kalakshetra, and I immediately complied. I came back to Kalakshetra, and it has been such a beautiful experience these ten years. I haven’t travelled much after I took up teaching. Right now, I love coaching my students. I also take Skype lessons from students countries such as the US and Denmark. However, I make it a point to sing for dance kutcheris during the season.
Any awards you particularly recollect?
In 1995, when Malavika Sarukkai danced at Narada Gana Sabha, I was her accompanying vocalist. That year, I received the best singer for dance award and it was covered by Sruti magazine. In fact, I still retain a copy of it! I am delighted that I was honoured with the prestigious award, even as I recall it now.
I also fondly remember singing for CV Chandrashekar’s daughter (Manjari?) at Krishna Gana Sabha around 2000-2001, where I was awarded the best singer.
In Baltimore, U.S.A., I was conferred with an honorary citizenship by the Mayor.
Can you tell us about some of your trips while singing for dance, and any experiences that you cherish?
I recollect a number of memorable experiences in my singing career. One particular favourite is singing for Malavika Sarukkai at the Smithsonian Institute in Washington DC. It was a moment of pride for me.
We also attended the Festival of India in Brazil, and travelling to Japan, Philippines and Singapore from there on. Another cherished memory was singing for Malavika at the Theatre De La Ville in Paris. We performed the same repertoire for six days, but each day, it was a different audience. It didn’t feel like a concert at all! We also did a memorable tour of Germany covering 18 cities in 22 days!
Of course, of all memories, the most wonderful was when we performed at Pandit Ravi Shankar’s house. He appreciated my singing and that was an unforgettable moment. Then, there were so many other concerts – at Queen Elizabeth Hall, Jacob’s Pillow at Massachusetts – each of them a gem of a memory.
I used to sing for Rhadha even while accompanying Malavika. I enjoyed singing for Rhadha. It was the pristine Vazhuvoor bani with Rhadha, from alarippu to manduka sabdam and so on. I still sing for Rhadha and A Lakshman. By the time, Malavika had begun exploring thematic performances. There was much creativity among artists and the dancers, and both Rhadha and Malavika give ample opportunities for the musicians to be at their creative best. I also thoroughly enjoyed singing Krishna Karnamritam for Seetharama Sarma Sir. I absolutely relish singing for the creative aspects in dance.
How do you keep in touch with music? Tell us something about your association with Kalakshetra.
As I have already mentioned, I am actively involved in teaching music now and perform sometimes during the season. I sincerely thank Kalakshetra because that is where I learnt a lot – it was the institute that gave me knowledge and my music. I learnt practically everything from Kalakshetra. I would especially express my gratitude to Rajaram sir, who was the principal then. My co-artists have been very helpful and they have made me what I am today. I would also thank Leela Samson and Priyadarsini Govind for inviting me to be a visiting faculty. I would like to impart the knowledge I received from my gurus to my students at Kalakshetra.
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Neela Ramgopal honoured
As a part of their Spring Music Festival, Sri Rama Lalitha Kala Mandira conferred the title Sangita Vedantha Dhurina on renowned vocalist, Sangita Kala Acharya Neela Ramgopal along with a purse of Rs. One lakh and a silver medal. The award was presented by His Holiness Sri Sri Yadugiri Yathiraja Narayana Ramanuja Jeeyar, Melukote on Sunday 12 February 2017 at the Bangalore Gayana Samaja Auditorium.
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A Peep into the Past
Many veterans of the previous century had always been against the microphone, notable among those being Palghat Mani Iyer and Semmangudi Srinivasa Iyer. So it was intriguing for a youngster like me to see how a concert without mikes would be, having been used to hearing music with micrpohones. This led me to the mikeless concert organised by The ARTery in Royapettah. The proximity of the audience to the performing musicians is a great boon in this venue. The way rasikas maintained talam and didn’t use mobile phones or get up during the Thani Avarthanam highlighted the need for more such spaces.
The concert was by Smt. S Sowmya and Sri D Seshachari, one of the Hyderabad Brothers. What struck the listener was the stark difference between both the styles. Seshachari had a masculine style dominated by straight notes, reminding one of Alathur Subbier. Also, the kanakku element was dominant in his rendering of kalpanaswaras. On the other hand, Sowmya was at her feminine best, expressing the best ideas of the Dhanam school. The intricate gamakas reminded one of T Brinda and T Muktha. While the individuality was visible in the alapanas, the duo combined well to give a wholesome offering.
The bill of fare comprised of a good mix of popular and not so oft heard krithis. In the beginning, there was Chinna Nadana (Kalanidhi), followed by a concise exposition of Suruti (Aadidum Arase). The Suruti krithi is a composition of Dr. S Ramanathan, Sowmya’s guru whose centenary year is being observed. The pallavi was beautifully structured and reminded one of the music of the doyen with its simplicity. Dhyaname Varamaina in Dhanyasi followed. A quick Ni Bhakthi Bhagya Sudha in Jayamanohari enlivened the proceedings. The highlight of the concert was a serene Veena Pusthaka Dharini in Vegavahini. The slow pace of the krithi in the serene atmosphere was sheer bliss.
The main piece of the evening was Ethavunara, preceeded by an elaborate alapana. The differing styles were so refreshing to hear. It was reflective of the variety which Carnatic Music offered. BU Ganesh Prasad’s reply on the violin was refreshing. The krithi followed with niraval and swaram at the traditional Seetha Gowri. The Thani Avarthanam by Mannargudi Eswaran was energetic and well received by the audience.
The post thani segment had a lot of padams and javalis which included Ososi (Mukhari), Taarumaaru (Natakurinji), Nithirayil (Panthuvarali) and Telesunura (Saveri). The musicians rendered the pieces alternatively. The brilliance of the Dhanam school was evident from Sowmya’s rendering. The pathantharam of Dhanam school is truly rich in its content and was soaked with intricate gamakas, voice modulation and so many different phrases. The magic of the Dhanam school is something truly one of its own and Dr Sowmya needs to be appreciated for her adherence to that style in its entirety.
The concert was one which would linger for a long time in the minds of the rasikas who attended the same. The atmosphere without electric lighting, without mikes and chairs made one wonder whether the doyens were actually right in what they said. While technology has definitely aided in taking Carnatic Music to the masses, a doubt lingers whether chamber music in this type of setting is the best setting possible. One more thing which could set in is higher interaction between the audience and the artistes. That would truly take us back to the good old days. Kudos to the organisers “The ARTery” for this idea and putting the show together.
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Birthdays & Anniversaries
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The legacy of Ariyakudi
A tribute on his 50th death anniversary
By Samudri
On 23 January this year, on the 50th death anniversary of Ariyakudi Ramanuja Iyengar, Carnatica, in association with the Ariyakudi Legacy Centre, presented a musical homage under the overall theme Sri Ariyakudi: the Legacy Lives On at Arkay Convention Centre, Mylapore, Chennai. The programme was followed by two more commemorative events in quick succession at different venues.
The first programme was highlighted by a lecture by Alepey Venkatesan Ariyakudi's Tunesmithy on the wealth of compositions by Ariyakudi, with particular reference to the Tiruppavai, with songs from the repertoire rendered by Alepey Venkatesan'ss disciples Vaishnavi Anand and Shruti Jayaraman.
This was followed by a delightful lecture-cum-concert programme by senior vocalist S. Sowmya on Arunachala Kavi's Ramanatakam, with some excellent singing by young musicians Bharat Sundar, Aswath Narayanan, and Gayatri.
"In the fitness of things, this musical homage is to be paid by generations of singers, hailing from different schools of music, " said Venkatesan, stressing that the Ariyakudi influence on musicians went beyond his own disciples and followers of his bani.. It is with this idea that various singers have come together to participate.
On 27 January, Venkatesan gave a weighty yet enjoyable lecture on the Ariyakudi bani at the Sivagami Pethachi hall on Luz Church Road. "A Compendium on Ariyakudi" an illuminating DVD created and performed by Venkatesan was released by chief guest N. Gopalaswami, Chairman, Kalakshetra and received by guest of honour vidushi Sudha Ragunathan. The highlight of the evening was a concert in the Ariyakudi by by vidushis Ranjani and Gayatri.
The 50th anniversary event culminated in a concert of Ariyakudi's pallavis, presented by Venkatesan and star vocalist Abhishek Raghuram on 28 January at the Mylapore Fine Arts Auditorium, Mylapore, Chennai. The audience enjoyed an in-depth talk on Ariyakudi's pallavis by Venkatesan.
The whole tribute to Ariyakudi, fifty years after his demise, was conducted in a fittingf manner, with great warmth and attention to detail.
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Birthdays & Anniversaries
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Birthdays & Anniversaries
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Birthdays & Anniversaries
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Birthdays & Anniversaries
Devakottai Narayana Iyengar - Buy Now
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Birthdays & Anniversaries
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Birthdays & Anniversaries
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Padma awards—too little, too late
By S. Janaki
The Padma Awards, announced on the occasion of Republic Day every year, invoke interest and controversy alike. Conferred in three categories, namely, Padma Vibhushan, Padma Bhushan and Padma Shri, the awards are given to personalities in various fields of activities, like art, social work, public affairs, science and engineering, trade and industry, medicine, literature and education, spiritualism, sports, and civil service. Padma Vibhushan is awarded for exceptional and distinguished service; Padma Bhushan for distinguished service of a high order and Padma Shri for distinguished service in any field.
This year the President of India has approved conferment of Padma Awards to 89 persons—the list comprises seven Padma Vibhushan, seven Padma Bhushan and 75 Padma Shri awardees. The number of women awardees is 19 and the list also includes five persons from the category of foreigners, NRIs, PIOs and six posthumous awardees. What is heartening this time is that the government has identified several “unsung heroes”, including folk and tribal artists, to receive the Padma awards.
Earlier, the selection process involved a close group comprising the Union or state governments, some powerful organisations, former awardees, and politicians. To cut down influence, political clout and lobbying, this year the government has opened up the nomination process for public scrutiny to make it transparent. Any Indian can now recommend an achiever for the Padma awards, which was the prerogative of a select few.
However, the number of arts personalities selected to receive the Padma awards this year is only 17, which includes in its small sweep a wide range of classical vocalists and instrumentalists (Carnatic and Hindustani), dancers, scholars, devotional singers, folk and theatre artists. K.J. Yesudass, a musician who straddles the genres of Carnatic, devotional and playback singing with ease, is the only Padma Vibhushan awardee. Hindustani classical musician Vishwa Mohan Bhatt—Grammy award winner and inventor of the Mohan-veena—is the sole artist to receive the Padma Bhushan. If we include the late theatre personality Cho Ramaswamy (selected to receive the award for his contribution to literature and education - journalism) the number of artists receiving the Padma Bhushan becomes two. It is quite disappointing that only 15 out of the 75 Padma Shri awardees are involved in the performing arts. Here too there are veterans like centenarian Chemenchery Kunhiraman Nair (Kathakali), 97-year old scholar and folk researcher Laishram Birendrakumar, nonagenarian vidwans T.K. Murthy (C-mridangam) and Parassala Ponnammal (C-vocal) who deserve to be honoured with awards higher than the Padma Shri. In fact octogenarian surbahar and sitar artist, US-based Imrat Khan, is said to have turned down the award as being “too little” that “came a little too late”. Is their distinguished service not “exceptional” enough or of “a high order”? It is also surprising that only two dancers—Kathakali artist Chemenchery Kunhiraman Nair and Odissi exponent Aruna Mohanty—have made it to the privileged list this time, that too for the Padma Shri! According to reports on social media, senior Bharatanatyam dancer Lakshmi Viswanathan figured in the names shortlisted for the Padma awards, though she is not among the final awardees this year.
More transparency in the nomination and selection procedures will go a long way in adding more credibility to the Padma awards.
Padma Vibhushan
K.J. Yesudass (C-music, devotional and film - Kerala)
Padma Bhushan
Vishwa Mohan Bhatt (H-Mohanveena - Rajasthan)
Cho Ramaswamy (posthumous, theatre - Tamil Nadu)
Padma Shri
Basanti Bisht (folk music - Uttarakhand)
Chemanchery Kunhiraman Nair (Kathakali - Kerala)
Aruna Mohanty (Odissi - Odisha)
T.K. Murthy (C-mridangam - Tamil Nadu)
Laishram Birendrakumar Singh (folk music scholar - Manipur)
Krishna Ram Chaudhary (H-shehnai - Uttar Pradesh)
Jitendra Haripal (Sambalpuri folk - Odisha)
Kailash Kher (Sufi, folk and film music - Maharashtra)
Parassala B. Ponnammal (C-music - Kerala)
Sukri Bommagowda (Tribal music - Karnataka)
Mukund Nayak (folk music - Jharkhand)
Purushottam Upadhyay (theatre music, harmonium, composer - Gujarat)
Anuradha Paudwal (devotional and film music - Maharashtra)
Wareppa Naba Nil (theatre - Manipur)
Imrat Khan (H-surbahar and sitar, U.S.A.) (NRI/PIO)
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Birthdays & Anniversaries
Suguna Purushothaman - Buy Now
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Veteran musicians honoured
By BuzyBee
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| (L to R) R. Sundar, V. Shrinivasan, Radha Viswanathan, N. Murali and Ramnath S. Mani |
Hamsadhwani, the well known sabha, conferred the ‘Sathguru Tyagaraja Hamsadhwani Award on Radha Viswanathan, daughter and disciple of M.S. Subbulakshmi, on 11 March 2017 at Chennai. N. Murali, President of the Music Academy presented the award to Radha.
Speaking on the occasion R. Sundar, secretary of the sabha, highlighted the contributions of Radha Viswanathan. V. Shrinivasan, son of Radha Viswanathan, in his acceptance speech on behalf of his mother, dedicated the award to M.S. Subbulakshmi and T. Sadasivam. The award ceremony was followed by a concert by S. Aishwarya (great granddaughter of MS and granddaughter of Radha) accompanied by M. Narmadha (violin), Kallidaikurichi Sivakumar (mridangam), Papanasam Sethuraman (khanjira) and H. Sivaramakrishnan (ghatam).
Chennai Fine Arts conferred the title Dig Vijaya Nada Vani and presented the Gotuvadyam Narayana Iyengar Award for excellence to veteran violinist T. Rukmini during the music season. The award comprising rupees one lakh, a gold medal and citation was presented by K. Vaidyanathan, Chief Editor of Dinamani and composer Spencer R. Venugopal who felicitated her. P.N. Muralidharan, founder, Chennai Fine Arts, is also in the picture.
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Indian Fine Arts Academy of San Diego Festival 2017
By Sukanya Sankar
Day 1: 2 April 2017
The Indian Fine Arts Academy (IFSAAD) has reached the milestone of a decade this year. It made a humble beginning in September 2007 as a small music circle group. The academy got a tremendous boost when over 90 patrons enthusiastically joined the organisation, and from then on there was no looking back. In its ten-year journey, IFSAAD has organised over 150 concerts and nurtured numerous young local talent. “We have established San Diego as a renowned world centre for Indian classical arts, celebrated the richness and diversity of India’s cultural heritage and projected Indian culture as well as our community in a positive light”, says Shekar Viswanathan, President and Secretary of IFSAAD.
This year is perhaps the most celebrated year in Carnatic music, it being the 250th year of Tyagaraja. It also marks the centenary year of musician and scholar Dr. S. Ramanathan.
The celebrations here at San Diego began on 2 April 2017, with much aplomb. Revathi Subramanian, music teacher and IFSAAD board member rendered the invocation—a beautiful viruttam written by Walajapet Venkataramana Bhagavatar describing Tyagaraja in metaphors—and the song Guruvaru mahimala in Anandabhairavi.
This was followed by a special panel discussion on ‘Appreciating the nuances in the compositions of Tyagaraja’ by the Hyderabad Brothers, Sangita Kalanidhi Trichy Sankaran, and Lalgudi G.J.R. Krishnan. Dr. Pappu Venugopala Rao, eminent scholar and academician, effectively moderated the crisp 90-minute session. The panelists explored the various nuances in the compositions of Tyagaraja, including the pallavi structure, importance of sangatis, niraval and the pathantaras that have since evolved.
Hyderabad Brothers demonstrated the raga bhava in Tyagaraja’s compositions. The ri in Rama nine nammi (Huseini), the usage of rgrs in Chakkaniraja (Kharaharapriya) and the absence of the kakali nishada in Khamas in his compositions were highlighted. Describing Tyagaraja as a "Bhooloka Narada", Venugopala Rao went on to analyse the sangatis in Tyagaraja’s compositions. Trichy Sankaran said that many sangatis have influenced percussionists in the way they provide accompaniment in concerts. He also said that as an accompanist, it is extremely important to maintain a differentiation while playing for the pallavi, anupallavi and the charanam.
Lalgudi G.J.R. Krishnan demonstrated the structure of compositions and how the anupallavi and charanam are linked to the pallavi. His lilting rendition of Teliyaleru Rama (Dhenuka), stole everyone’s heart.
The discussion then moved on to the pathantaras in the Tyagaraja lineage and the variations within that. Venugopala Rao also drew attention to the fact that there are many compositions which are not composed by Tyagaraja but have his mudra and that musicians must apply caution while attributing these to the saint. He also spoke about Tyagaraja’s inspirations—Pothana and Bhadrachala Ramadas. Apart from sharing the same vision of Rama bhakti, their influence on Tyagaraja’s music is immense and has been displayed in many compositions. The most important and striking influence we see is the ‘sabda alankara’ (like in Vandanamu Ragunandana, Balakanakamaya). It was interesting to listen to the panelists analysing every aspect of Tyagaraja’s compositions as they comfortably traversed over three languages—Telugu, Tamil and English. The panel came to a close at 4:59 pm (Pappuji Standard Time), justifying a wholesome 90-minute on the immortal nadayogi.
It was followed by a moving concert by vainika Geetha Bennett, daughter and disciple of Sangita Kalanidhi Dr. S. Ramanathan. Geetha played compositions which were her father's favourites. Starting with a beautiful Chenchuritti varnam and concluding with a stirring Chakravakam, it was indeed a fitting tribute to her father on his centenary. Geetha’s positive attitude and her husband Frank Bennett’s constant encouragement off-stage by keeping talam for the entire 60 minutes, was very moving and inspiring.
The evening concluded with a thematic concert by Vijayalakshmi Subramaniam on 'Tyagaraja Bhakti Margam'.
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Kishori Amonkar passes away
By Samudri
Kishori Amonkar, one of the top ranking Hindustani vocalists, passed away on the night of 3 April in Mumbai. She was 84. She was the leading singer of the Jaipur-Atrauli gharana. Born in Mumbai on 10 April 1932, she trained under Anjanibai Malpekar of the Bhendi Bazar gharana and her mother Mogubai Kurdikar, who received training from the master Ustad Alladiya Khan of the Jaipur gharana. Kishori's repertoire was diverse—ranging from khayals, thumris, bhajans to Hindi film music.
She was the recipient of several prestigious awards like the Sangeet Natak Akademi Fellowship (2009), Padma Vibhushan (2002), Padma Bhushan (1987) and the Central Sangeet Natak Akademi Award (1985) to name a few. She was a diva of Hindustani classical music and her musical following was such that a generation of women singers aspired to sing like her. She was a brilliant musician and the world of Indian classical music is poorer by her loss.
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Birthdays & Anniversaries
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