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S SOWMYA
68/10, Dev Apts., Gandhinagar III Main Rd.
Adyar, Chennai - 600 020 Tel:+2441 6944
S. Sowmya has inherited the style or bhani of Dr. S. Ramanathan who had a deceptively simple way of rendering kirthanas. The style, on the face of it, looks simple but the musical content makes a profound impact on the listeners.
Sowmya was accompanied by Nalina Mohan on the violin and Neyveli Narayanan on the mridangam. She brought out the beauty of raga Manirangu with ease and comfort, preserving the bhava without encroaching into Madyamavati or Shri. Harikambhoji was given a lengthier treatment, and its purity maintained. Sowmya's stance at Panchama and Dhaivata and the manner in which she handled the sancharis in Harikamboji around them were impressive. There was no unwanted brika and frill for the sake of adding quantity to the raga.
S. Sowmya made up for a disappointing Atana with a brilliant Kalyani in the three-course musical meal she served at the Indian Fine Arts. Following a neat "Sobhillu Saptaswara" (Jaganmohini), which featured swaras at, surprise, "Bhajimpave Manasa," the Atana alapana rambled on with repeated phrases.
Tyagaraja's "Ela Ni Daya Radu" followed, with nereval at "Ra Ra" but the slow pace that was unbecoming of a good Atana killed the charm of the raga. Surprising, because Sowmya is not an artiste who has difficulty with speed.
Even the Kalyani that followed, until half-way through the alapana, was only run-of-the-mill. But as Sowmya developed the raga, it blossomed into something that could be expected of an artiste of her calibre. Patnam Subramanya Iyer's "Nija Dasa Varada" was delightfully rendered, with `teach-you-how' nereval and swaras at "Bhujagadhipa Seyana."
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Adyar, Chennai - 600 020 Tel:+2441 6944
S. Sowmya has inherited the style or bhani of Dr. S. Ramanathan who had a deceptively simple way of rendering kirthanas. The style, on the face of it, looks simple but the musical content makes a profound impact on the listeners.
Sowmya was accompanied by Nalina Mohan on the violin and Neyveli Narayanan on the mridangam. She brought out the beauty of raga Manirangu with ease and comfort, preserving the bhava without encroaching into Madyamavati or Shri. Harikambhoji was given a lengthier treatment, and its purity maintained. Sowmya's stance at Panchama and Dhaivata and the manner in which she handled the sancharis in Harikamboji around them were impressive. There was no unwanted brika and frill for the sake of adding quantity to the raga.
S. Sowmya made up for a disappointing Atana with a brilliant Kalyani in the three-course musical meal she served at the Indian Fine Arts. Following a neat "Sobhillu Saptaswara" (Jaganmohini), which featured swaras at, surprise, "Bhajimpave Manasa," the Atana alapana rambled on with repeated phrases.
Tyagaraja's "Ela Ni Daya Radu" followed, with nereval at "Ra Ra" but the slow pace that was unbecoming of a good Atana killed the charm of the raga. Surprising, because Sowmya is not an artiste who has difficulty with speed.
Even the Kalyani that followed, until half-way through the alapana, was only run-of-the-mill. But as Sowmya developed the raga, it blossomed into something that could be expected of an artiste of her calibre. Patnam Subramanya Iyer's "Nija Dasa Varada" was delightfully rendered, with `teach-you-how' nereval and swaras at "Bhujagadhipa Seyana."
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BOMBAY S JAYASHRI
15, Cresent Avenue, Kesavapuram
Chennai 600 028. Tel: +44-42158609
Bombay Jayashri has the uncanny ability to produce a tranquilizing effect on the listeners. Her album titled Salokyam (Hindustani classical) is delightful for the sheer calm it brings to the minds of listeners. She has picked some nice songs.
The album comprises compositions of Mirabai, Jayadeva and a few others. Salokyam is a Sanskrit word. It means the realm of God (Vishnu).
Jayashri has brought her prowess in Hindustani music in this album.
Percussion artistes Mithilesh Kumar Jha and Sai Shravanam have accompanied her on Tabala. In this album, she sings “Jagadeesha Sudheesha” in Hamir Kalyani. It is the right kind of an invocation song with good lyrics “Jagadeesha Sudeesha Bhavesha Vibho,” lavishing it with her melodious voice. One is tempted to rewind the CD to hear it once more.
A composition of Jayadeva’s Astapadi “Ehi Murare” in Rag Natbhairav is rendered with fineness. Senior Hindustani vocalist Lakshmi Shankar is adept at presenting such compositions. This is a Gopika Biraha geetham.They shout to Lord Krishna, when HE is not found anywhere. Jayashri renders this with involvement. She nourishes the kriti with her creative presentation. “Raamam Ghanashyaamam” in Rag Bhagyashree is pleasant and warms the heart as well as the mind.
Bhagyashree, especially, is a soothing raga. Many a classical film song was sung in this raga. Mirabai’s “Gopala Gobinda” in rag Shaam Kalyan is exquisite, with riveting lyrics. Jayashri embellishes this one adequately, giving it an absolute classical touch. Indeed, she takes one down memory lane to Mirabai times with her touching presentation. “Kaatyaaayani Mahaa Bhaage” in raga Durga is full of melody and is pleasing to listen. Kulashekara Perumal’s ( Mukuntha Mala) “Ksheerasaagara Taranga” is tuned in raga Sindhu Bhairavi and sings it ever so gently.
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Chennai 600 028. Tel: +44-42158609
Bombay Jayashri has the uncanny ability to produce a tranquilizing effect on the listeners. Her album titled Salokyam (Hindustani classical) is delightful for the sheer calm it brings to the minds of listeners. She has picked some nice songs.
The album comprises compositions of Mirabai, Jayadeva and a few others. Salokyam is a Sanskrit word. It means the realm of God (Vishnu).
Jayashri has brought her prowess in Hindustani music in this album.
Percussion artistes Mithilesh Kumar Jha and Sai Shravanam have accompanied her on Tabala. In this album, she sings “Jagadeesha Sudheesha” in Hamir Kalyani. It is the right kind of an invocation song with good lyrics “Jagadeesha Sudeesha Bhavesha Vibho,” lavishing it with her melodious voice. One is tempted to rewind the CD to hear it once more.
A composition of Jayadeva’s Astapadi “Ehi Murare” in Rag Natbhairav is rendered with fineness. Senior Hindustani vocalist Lakshmi Shankar is adept at presenting such compositions. This is a Gopika Biraha geetham.They shout to Lord Krishna, when HE is not found anywhere. Jayashri renders this with involvement. She nourishes the kriti with her creative presentation. “Raamam Ghanashyaamam” in Rag Bhagyashree is pleasant and warms the heart as well as the mind.
Bhagyashree, especially, is a soothing raga. Many a classical film song was sung in this raga. Mirabai’s “Gopala Gobinda” in rag Shaam Kalyan is exquisite, with riveting lyrics. Jayashri embellishes this one adequately, giving it an absolute classical touch. Indeed, she takes one down memory lane to Mirabai times with her touching presentation. “Kaatyaaayani Mahaa Bhaage” in raga Durga is full of melody and is pleasing to listen. Kulashekara Perumal’s ( Mukuntha Mala) “Ksheerasaagara Taranga” is tuned in raga Sindhu Bhairavi and sings it ever so gently.
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ASIN GALLERY 2
Asin Asin, the beautiful actress with a charming smile, is very Busy these days. She is anxiously waiting for the Hindi version of Ghajini opposite Aamir Khan to be released and hopes that it will be her launching pad to Bollywood. She hopes to be a successor to a number of South Indian actresses who reigned as queens in Hindi like Vyjayanthimala, Hema Malini, Jayaprada and Sridevi. But Asin is in a dilemma these days.
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