Yamini 2020 @IIM Bangalore
For the 17th consecutive year, we had a successful Yamini overnight at IIM, Bengaluru on 25-26th January on the occasion of the 71st Republic Day of India.
Beginning with the masterpiece ‘Swara Raga Sudha’ in Shankarabharanam, Vidwan Abhishek Raghuram rendered compositions of Tyagaraja and Muthuswamy Dikshitar with great proficiency. Todi and KapiNarayani were his other choice of ragas for the evening. He was ably accompanied by Vidushi H.M. Smitha on the Violin, Vidwan K U Jayachandra Rao on Mridangam and Vidwan Giridhar Udupa on the Ghatam. Concert ended with a joyful Thillana in MohanaKalyani composed by his maternal granduncle, Maestro Sri Lalgudi Jayaraman.
Misra bandhu began with a soul-stirring rendition of a vilambit in Bihagada. The Basant Bahar that followed, a jod-raag, was skillfully tackled to be rendered as an enchanting hybrid. The Gurunanak bhajan in Raag Kirwani and the Tulsi Das bhajan in Raag GauriManjari were special. Pandit Ravindra Yavagal and Pandit Vyasmurti Katti complemented the duo with great mastery. Shri Jagannath Rao and Shri Shivaprasad played the Tanpura.
The Yakshagana act of 'Krathaveeryarjuna Kalaga' was a big hit among the audience. Keremane Shivananda Hegde and his young troupe of 15 members enthralled the audience with an episode from the epic Ramayana in the Badagutittu style. Rich in Shringara and Veera rasa, the narrative proved to be a good mix of valour, romance and humour. The himmela featuring Shri Anant Hegde Danatalike on the Bhagavata, Shri Narasimha Hegde Mururu on the Maddale and Shri Krishna Yaji Idagunji on the Chande was rich and powerful and complemented the act just too well.
Pandit Shubhendra Rao's poised renditions only spoke volumes of his dexterity in the Maihar style of Sitar playing. Beginning with Kausi Kanada with an elaborate aalap, the rendition relaxedly unfurled a madhyalay gat and climaxed in an intricate drut. The rendition had an ample dose of sitar bends and rapid taankari. The rendition that followed in the raag of the dawn, Lalit, was deep and devotional. Pandit Arup Chattopadhyay’s Tabla saath characterised by crisp, crystal clear bols had a tonal finesse. It was a blissful symphony.
Vidwan Shashank Subramanyam delivered a goody bag of several ragas to hold the audience in rapture. The classic Krishna nee begane baro in Yaman Kalyani, Ramapriya with a Kaapi ragamalika, compositions in Hamsadhwani, Jeevanpuri and Desh were played with an amazing vigour and fluidity. Vidwan Phalgun Parupalli on the Mridangam and Vidwan Giridhar Udupa on Ghatam flourished with ease. A rendition of Bhairavi broke the dawn bringing the event to a closure.
* As reported by Sahana
Beginning with the masterpiece ‘Swara Raga Sudha’ in Shankarabharanam, Vidwan Abhishek Raghuram rendered compositions of Tyagaraja and Muthuswamy Dikshitar with great proficiency. Todi and KapiNarayani were his other choice of ragas for the evening. He was ably accompanied by Vidushi H.M. Smitha on the Violin, Vidwan K U Jayachandra Rao on Mridangam and Vidwan Giridhar Udupa on the Ghatam. Concert ended with a joyful Thillana in MohanaKalyani composed by his maternal granduncle, Maestro Sri Lalgudi Jayaraman.
Misra bandhu began with a soul-stirring rendition of a vilambit in Bihagada. The Basant Bahar that followed, a jod-raag, was skillfully tackled to be rendered as an enchanting hybrid. The Gurunanak bhajan in Raag Kirwani and the Tulsi Das bhajan in Raag GauriManjari were special. Pandit Ravindra Yavagal and Pandit Vyasmurti Katti complemented the duo with great mastery. Shri Jagannath Rao and Shri Shivaprasad played the Tanpura.
The Yakshagana act of 'Krathaveeryarjuna Kalaga' was a big hit among the audience. Keremane Shivananda Hegde and his young troupe of 15 members enthralled the audience with an episode from the epic Ramayana in the Badagutittu style. Rich in Shringara and Veera rasa, the narrative proved to be a good mix of valour, romance and humour. The himmela featuring Shri Anant Hegde Danatalike on the Bhagavata, Shri Narasimha Hegde Mururu on the Maddale and Shri Krishna Yaji Idagunji on the Chande was rich and powerful and complemented the act just too well.
Pandit Shubhendra Rao's poised renditions only spoke volumes of his dexterity in the Maihar style of Sitar playing. Beginning with Kausi Kanada with an elaborate aalap, the rendition relaxedly unfurled a madhyalay gat and climaxed in an intricate drut. The rendition had an ample dose of sitar bends and rapid taankari. The rendition that followed in the raag of the dawn, Lalit, was deep and devotional. Pandit Arup Chattopadhyay’s Tabla saath characterised by crisp, crystal clear bols had a tonal finesse. It was a blissful symphony.
Vidwan Shashank Subramanyam delivered a goody bag of several ragas to hold the audience in rapture. The classic Krishna nee begane baro in Yaman Kalyani, Ramapriya with a Kaapi ragamalika, compositions in Hamsadhwani, Jeevanpuri and Desh were played with an amazing vigour and fluidity. Vidwan Phalgun Parupalli on the Mridangam and Vidwan Giridhar Udupa on Ghatam flourished with ease. A rendition of Bhairavi broke the dawn bringing the event to a closure.
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