Dr. N.J. Nandini from Thiruvananthapuram, Keralam, presenting a vocal concert at Veene Seshanna Bhavana on June 19. She is accompanied by Vidu. Sindhu Suchethan on violin, Tumkur Ravishankar on the mridanga and Tumkur Shashishankar on ghata.
Ashwini Kolikkaje presenting a vocal recital at BSS Vidyodaya in Krishnamurthypuram on June 20. She is accompanied by U. Tanmayi on violin, Nandan Kashyap on mridanga and Shreenidhi Kaundinya on ghata.
Dr. Shanthi Narasimhan and Dr. C.G. Narasimhan had organised a memorable vocal concert on June 19 at Veene Seshanna Bhavana in memory of their mothers, Sugunamma Dayalu and G. Mahalakshamma, respectively.
The evening featured the accomplished and widely acclaimed vocalist Dr. N.J. Nandini from Thiruvananthapuram, Keralam, who presented an inspiring recital that delighted the discerning rasikas of Mysuru. A recipient of numerous awards and accolades, Dr. Nandini has performed at several prestigious Sabhas across India and abroad. She was ably accompanied by Vidu. Sindhu Suchethan on violin, Tumkur Ravishankar on the mridanga and Tumkur Shashishankar on ghata, all of whom contributed significantly to the success of the concert.
The recital commenced with the majestic Ata Tala varna Sarasijanabha in Kambhoji, rendered in two speeds, setting an auspicious and energetic tone. This was followed by an elaborate exposition of Mayamalavagowla by both the vocalist and violinist, leading to Tyagaraja’s Meru Samana. A well-conceived neraval at ‘Kanaka Bhushanamula Dalita Durmanava’ and a cascade of imaginative kalpanaswaras enhanced the presentation.
Throughout the concert, Dr. Nandini displayed remarkable restraint in her manodharma, ensuring that each improvisation was proportionate to the composition — neither excessive nor inadequate. Maha Vaidyanatha Ayyar’s evergreen composition Pahimam Sri Rajarajeshwari in Janaranjani was presented with infectious vitality. The elegant handling of the chitteswara passages, followed by brisk kalpanaswaras at ‘Kripakari Shankari,’ added freshness and excitement.
A concise yet evocative sketch of Natakapriya introduced Mysore Vasudevacharya’s Idi Samayamu Brovarada. The crisp kalpanaswaras at ‘Karuna Joodu’ were enriched by an impressive demonstration of grahabheda, while the musical dialogue between the vocalist and violinist was both engaging and aesthetically satisfying.
The highlight of the evening was undoubtedly the Raga-Tana-Pallavi in Kalyani. Dr. Nandini unfolded the timeless grandeur of this majestic raga through classic phrases and imaginative exploration, reflecting mature musicianship and deep aesthetic understanding.
Vidu. Sindhu Suchethan matched the vocalist admirably, bringing out the subtle nuances of Kalyani with equal finesse. The Tamil pallavi, ‘Un Darshanam Kidaikkumo Nataraja Dayanidhe,’ set to Adi Tala, was handled with confidence and poise. Ravishankar and Shashishankar then captivated the audience with a spirited and engaging taniavartanam. The concluding segment featured a selection of devotional pieces, including the popular Devaranamas Innu Dayabarade and Naneke Badavanu, followed by a Malayalam devotional song and a lively tillana, bringing an immensely satisfying concert to a graceful close.
A promising vocalist…
Bhagini Raga Sourabha, which presents a monthly concert series on the third Saturday of every month, organised a vocal recital at BSS Vidyodaya in Krishnamurthypuram on June 20 by the talented young artiste Ashwini Kolikkaje, a disciple of Vidu. Koviladi Kala of Mysuru.
Ashwini’s greatest strength lies in her confidence, which reflects consistently in her stage presence and musical presentation. Blessed with a pleasing voice and an adventurous manodharma, she is undoubtedly a promising musician with a bright future. She was accompanied by the equally talented young violinist U. Tanmayi, Nandan Kashyap on mridanga and Shreenidhi Kaundinya on ghata, making it an ensemble of gifted young artistes.
The concert opened with G.N. Balasubramaniam’s Ranjani varna Amboruha, rendered at an appropriate tempo and with admirable precision. She then invoked Lord Ganapati with Sri Jayachamaraja Wadiyar’s Sri Maha Ganapathim Bhajeham in Athana, embellishing it with crisp and imaginative kalpanaswaras.
Tyagaraja’s Shobhillu Saptaswara in Jaganmohini, complete with its attractive chitteswara passages, confirmed that the audience was in for an engaging recital. A melodious sketch of Andolika by both vocalist and violinist paved the way for Tyagaraja’s immortal Raga Sudharasa.
A soothing rendition of Sripadarajaru’s Devaranama Nandanandana Pahi, tuned by Vid. Koviladi Rangarajan in Vasantha, provided a refreshing contrast. Ashwini’s alapana of Keeravani effectively captured the raga’s depth and emotive appeal. Violinist Tanmayi displayed commendable musical understanding, though a slightly softer bowing technique would further enhance her presentation. Muthiah Bhagavatar’s Ambavani Nannadarimpave emerged as one of the highlights of the recital. The neraval at ‘Varaveenapani Vagvilasini’ and the subsequent kalpanaswaras were imaginative and aesthetically pleasing.
The main item of the evening was Kalyani. Both Ashwini and Tanmayi explored the raga with maturity beyond their years. Maharaja Swathi Thirunal’s Pankaja Lochana was rendered with grandeur, supported by well-structured neraval and imaginative swara exchanges. The young percussionists, Nandan Kashyap and Shreenidhi Kaundinya, provided sensitive and energetic accompaniment throughout the concert and their taniavartanam was both lively and well executed.
Among the rarities presented was Navaneethalola in Kapi, composed by the eminent scholar ‘Purusha Saraswathi’ Rallapalli Ananthakrishna Sharma, which proved to be a delightful musical offering. Equally noteworthy was another rare Devaranama, Marajanaka Chaturanana in Abheri, composed by Sri Prasanna Theertha of Vyasaraja Mutt. With continued guidance and greater concert exposure, Ashwini Kolikkaje and her talented accompanists are certain to establish themselves as distinguished performers in the field of Karnatak classical music.
—Dr. Rama V. Bennur
This post was published on July 13, 2026 7:30 pm