Aditya Madhavan’s presented audience received commendable Photo Credit: Jothi Ramalinga B.
Chennai, Music Academy Cadmi Hall, not in peace, but in anticipation. On this occasion, the weight of the ethnicity and the memory of voice once interpreted the era. K Conducted by Vivekanandan, his grandfather, Semmangudi R. In memory of Srinivas Iyer, The Endowment concert came not only to listen to the Droo jokes but also to remember. For many, Semmangudi was not only a sizing but an organization. A music discretionary who determines the standard for the brother-filled music, the integrity of anger and the clear clarity.
Young and promising singer Adhitha Madhavan deliberately offered a cuurated 90-minute cucumber, celebrating the quarterly Semmangudi Soundscape. He was supported by VSP Gayatri Shivani and Kaushik Sridhar on Mridangam on the violin.
The repository, which is focused on Karharapriya and his ethnicity, paid tribute to the Semmangudi Bani, which is known for the richness of the Kisiki Nishadam, the distribution of the brother-in-law, and the racquet of anger.
The concert was opened in Kalyani with Varna ‘Wanajakshi’. Initially, Aditya used it as a launchpad to erase her voice due to a minor breathing break. However, as the concert grew, Aditya’s free-awakening distribution began to shine, helping with sensitive soft support supporting that avoided extremes.
Sangeeta Kalanidhi Semmangudi R. Srinivas Iyer | Photo Credit: Hindu Archives
If the sound of the semamungudi remains in our memory, it is partially presented like ‘Marubka’ in Shri Ranjani, with the act of which he has tangled with such precision that his architecture has become quantity. Aditya re -visited this classic with restraint and emotion RageSudhahamLet the attraction of anger be unnecessarily emerged. His time in ‘Dhari Nerigi’ was crisp and good. The violin of Gaythri, not just echoes, but also enhances the singer’s phrase with intuitive sympathy.
A review of the concert of Semangudi Srinivas Iyer published in Hindu In 1996. | | | | | | | | | | | | | | | | | | Photo Credit: Hindu Archives
The sub-main section was briefly marked by alapana, a passionately bright groove, where the anger was brought out of the congenital Karua juice. The selection of the upper stimulates the memories of the connection of the semumgudi’s anger, especially through the sculptures like ‘why or’, ‘. While going to Mamawa Meenakshi, Dixitar’s Magnum Ops, Aditya continued a steady walk in ‘Shyam Shankri Digvijaya Pradhani’. His breathing control, bottom alignment and sound room was remarkable. Violin and Mridanga responded to the coordination and increased the grandeur without distraction.
Papanasam Shivan’s ‘Apnayatharaita’ of Karharpriya, the less frequently presented the designs that recognized the love of Semmangudi for the rag, was given as a bright interlude before the main piece of the concert. Although the mail black structure was pale in the tone, the sequence was well kept in the sequence, which was offered a measured contrast that did not break the classical intensity.
Aditya Madhavan was properly supported by VSP Gayatri Shivani and Kaushik Sridhar. Photo Credit: Jothi Ramalinga B.
Aditya retained his extensive performance for Kamboji, which is known for his regal and Rakt nature. Gayatri’s violin’s response was equally attractive, he caught the honor of devotion-and-Kamboji, a subtle, but effective honor with Sangatis. The act of ‘Shri Raghuvara Apramaya Mamawa’ was a bold and welcome choice, a piece of a Tigaraja, which dealt with devotion with a dramatic phrase. The timely manifestation showed his creativity, where he woven fast-finished tone and concluded the concluding Such concluding Such that gave a commendable hostility. After that, Kaushik’s Thani Ourranam was fast and attractive, which gave the audience a rhythmic difference without hesitation to the tonal environment of the concert.
The concert concluded in Johnpuri with a delightful presence of “Pashait Kausalam”. Spit Let them gently go to the gorgeous magnificence of the main.
