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The 111th Music Program of Sangeetha Rasika Sangam, Chennai 92 was held at Sri Varasiddhi Vinayagar Temple, Chinmayanagar (Central Chinmaya Mission Trust) on 22nd November 2008.

While Mrs Rajee Mohanakrishnan as vocalist, she was supported by Sri C N Srinivasamurthy on the violin, Sri Mohana Krishnan on the Mridangam and Sri Hariharasubramanian on the Ghatam.

The recital opening song was Vathapi Ganapathi Un Thiruvadi Charanam in Sahana. The nuances of the raaga were woven into a nice fabric and the sahitya conveyed its inner beauty through lyrical accentuation. The arohanam and avarohanam scales of this raga Sa R Ga ma pa ma Dha ni S and Sa ni Dha pa ma Ga Ri S respectively.

Following this, 'Maragatha Linga Chindhayae' in Vasantha was mellifluously presented.

'Ekambaranatha Chindhayae' in Karnataka Sudha Saveri made a meaningful impact on the listeners' minds to conceptualise the grandeur of the raga long after attending the programme. The essence of 'Mayamalagowlam' was reflected in its pristine glory, when the artiste handled the Sahitya 'Ksheera Sagara'.

The Pratimadhyama Raga Chandra Jyothi's true colour was revealed while singing 'Bhagayanayya'.

The artiste rendered dexterously with moving melody 'Entharu Nee Dhana' in Hari Kambodhi the 28th Melam. Sketching 'Shanmugha Priya's (56th Melam) for a short while, the artiste's rendition of a song 'Then Ena Inikkum' in that raga was enjoyed by the audience in no small measure. This Prati Madya ma raga's core swaras 'Kaishika Nishadham' and 'Sudha Daivatham' were brought out in sharper focus revealing its finer characteristics. Sri C N Srinivasamurthi spared no pains to display the finer elements of the raga by skilfully manipulating the string on the violin. He was able to reach the depth of the raga by laying emphasis on the core notes.

Sri Mohanakrishnan and Sri Harihara Subramanian lent a powerful support in their respective percussion instruments drawing the attention of the audience then and there.

Another Prati Madhyama raga 'Saranga' while presenting 'Gyana Sabayil' made a mark on the programme. The use of the two madhyamam in this raga enhances its classical value. 'Dhayavillaya Dhayalo' in Karaharapriya, a favourite piece that Sri Maharajapuram Santhanam of yester years used to sing before a huge gathering of rasikas, was presented in mellufluous form by the artiste at the end of which the audience expressed their delight through loud applause.

Dhasarata Nandana in Asaveri with its strong classical basic shone brilliantly. Charanam Ayyappa in Muhari produced a devotional appeal. In its swara structure in Arohanam (Sa Ri ma pa ni Dha S) the Kaisika Nishadham precedes Chathushruti Dhaivatham which gives the true identity of the raga. The main raga taken up for full improvisation was Sankarabaranam. The rendition of the raga describing it with its smooth curves here and there and also rendered initially in Madhyama Kaala Shruthi endeared the audience closer to the artiste.

Saroja Nilaya Himagiri Puttri' came up very well although presented with minimum Sangathies. The swara exercise was undertaken with great care and the coverage left a deep imprint in the minds of rasikas.

Sri C N Srinivasamurthi translated the notes and used his bow to bring out the subtler aspects of the raga to the fore. His style and bhava are really commendable. Sri Mohanakrishnan made a symmetrical and rhythematic beats adding colour to the musical event. Sri Hariharasubramanian's Ghatam brought the laya into clear focus and his co-ordination with Mridangam Artiste was in top form at every stage. The 'Thani' Avardhanam of the duo received thunderous applause.

One Kriti in Hamsanadham, Janya raga of 60th Melam Needhi Mathi drew praise from every one. Entha Mathramu in Brindavani of Sri Annamacharya was enchanting and sung with devotional fervour. The artiste's excellent voice enriched the quality of the concert throughout. The programme came to a happy end with Mangalam.

Sangeetha Rasika Sangam.