Monday, May 30, 2016

Kothapalli Pravallika impresses - The Hindu

Fine instrumental support for Pravallika was provided by Palaparthy Nageswara Rao on violin, Inapavuluri Pinakapani on mridangam and T.Lakshmi Shanker on the morsing.

Kothapalli Pravallika displayed fine manodharmam ability in the raga delineation and kalpana swaras.

The Upadrshta Foundation of Gudivada celebrated the 249 Jayanthi of Sri Thyagaraja Swamy at Upadrashta Venkata Sastri Brahmin Community Hall and a sizable gathering of musicians and music lovers attended the vocal concert presented in this connection. The singer was a 12-year-old prodigy Kothapalli Pravallika, a disciple of vidwan Popuri Syamasunder. Pravallika ha started showing extraordinary talent from the age of six years and she sports a melodious voice and sharp swara gnanam... 

more: Kothapalli Pravallika impresses - The Hindu

see also: Classical music fete in Thrissur - The Hindu –
...Supported by A. Kanyakumari (violin), K.M.S. Mani (mridangam), Rajendra Nakod (tabla), Kovai Suresh (ghatam) and Bangalore Rajasekhar (morsing), Kadri began with ‘Pranamamyaham’, a Goula composition of Mysore Vasudevachar in Adi. Saturated with swaras in fast tempo, the number ended in a crescendo with an enthralling percussion flourish. Kadri’s affinity to Tyagaraja was evident in the selection of the next six numbers including the main one. ‘Kamalaptakula kalasavardhini’ in Brindavanasaranga, Adi, was prefaced by a short alapana. A penchant for speed was revealed even in the short Panthuvarali composition ‘Siva Siva’. But ‘Raghuveera ranadheera’ in Huseni, Roopakam, was in a relatively low tempo. Elaboration of Nasikabhushani evoked its inherent karuna rasa. But the mood changed as he played ‘Marevairi ramani’ in a fast manner. The musical ingenuity of the artiste was revealed through Abheri, the main raga for which he played ‘Nagumo ganaleni’. Commendable were the phrases he wove to essay the raga. Descending the scale in packets of double notes was really enjoyable. 
Kanyakumari’s tani was soothing throughout and a contrast to the sonorous notes of the sax. Repetition of ‘Nagaraja’ in anupallavi in different modes embellished the piece. Percussion tani led by K.M.S. Mani stood out for rhythmic varieties, especially for Rajasekharan’s deft playing on the morsing...

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