Latest news with #Purandaradasa
The Hindu
24-06-2025
- Entertainment
- The Hindu
M.L. Vasanthakumari's melodious voice and innovative approach made her music unforgettable
She came, she sang, she conquered. July 3 marks M.L. Vasanthakumari's (MLV) 97th birth anniversary. It's a good time to look back at my guru and an extraordinary vocalist's life and art — a combination of melody, vidwat and dynamic stage presence. MLV was not only adept at singing both shudha Carnatic ragas such as Thodi and Bhairavi but also desya ragas like Behag or Sindhubhairavi. She may have imbibed this talent from her father vidwan Koothanoor Aiyaswamy Iyer, who was trained in both Carnatic and Hindustani music. Along with her mother Lalithangi, he also specialised in Purandaradasa kritis. MLV followed suit. MLV expanded the repertoire she inherited by adding compositions by Kanaka Dasa (disciple of Purandaradasa) and other Dasa Koota composers. It could be said that the family brought Dasarapadas to the concert stage. Mysore University acknowledged MLV's efforts in this regard by bestowing upon her an honorary doctorate. A versatile vocalist, MLV was trained early on by none other than G.N. Balasubramaniam, who was also a close friend of her father. It was GNB who boldly ushered in a new voice-culture based on Hindustani akaaras and nagaswaram glides (jaarus), and lightning-fast swara clusters (brighas). She carried forward his innovative approach. She was one of the first Carnatic vocalists to sing abhangs. Her kutcheris often felt wholesome with the inclusion of padams, javalis, Tevarams, Tiruppugazh and complex RTPs. She was well known for introducing rare kritis in each and every concert. Rasikas waited with bated breath to hear a new song, alapanas of rare ragas such as Sekarachandrika, Gamansrama, Revathi and Natabhairav, a pallavi in a difficult setting or a Purandaradasa ragamalika. They also enjoyed the tukkadas she presented. MLV was adventurous as a singer. For instance, at the Sangita Kalanidhi concert in 1977 at the Music Academy, she courageously took up a tricky pancha nadai (five varieties of rhythm) pallavi and executed it beautifully. Her singing drew lavish praise even from one of the sharpest critics of the time — Subbudu (P.V. Subramaniam). I began learning from MLV in 1963 at the age of 12. My mother Alamelu Viswanathan took me to her house. The singer was then getting ready for a concert. I was awestruck by akka's (as I used to call her) personality. She was wearing a beautiful silk saree, diamond ear studs and stone-embedded gold bangles. Her long well-oiled hair was neatly braided and adorned with fragrant jasmines. She heard me sing a short kriti, paused for a moment and accepted me as her disciple. My mother was overjoyed. She had a cheerful-casual disposition as a teacher. It was a 27-year-long association between the guru and the sishya. MLV's music was different from that of her contemporaries — D.K. Pattammal and M.S. Subbulakshmi. Though MLV was younger than the other two legends, she rose to great heights and the three were referred to as the 'female trinity of Carnatic music'. They began their career as gramophone-record sensations and gained unprecedented popularity in the early 20th Century. MLV was just 12 when she cut her first vinyl with 'Sarasija nabha murare' (Charukesi , Swathi Tirunal). Later, the trio forayed into singing for the cinema, with M.S. even acting in a few. As for MLV, she sang for the top heroines of the time, including Padmini, who was also her neighbour. Both shared a warm relationship. MLV divided her time among kutcheris, travel and studio recordings. One often saw her practising during her commute or in the little free time she got. Despite her hectic schedule, she was always available for her sishyas, willingly sharing her knowledge and guiding them. MLV's music was three dimensional — she had a great voice, a creative mind and a generous heart. The writer is a well-known Carnatic vocalist.
The Hindu
04-06-2025
- Entertainment
- The Hindu
Mayuri Upadhya brings her Broadway experience to the Bengaluru stage
History shows that Indian classical music and spirituality go hand-in-hand. While Purandaradasa, Jayadeva and Tulsidas are known for the Bhakti Movement, classical dancers and singers too connect more to their art spiritually. In fact, bhakti is the dominant rasa of most concerts and dance performances. . Classical-contemporary dancer-choreographer Mayuri Upadhya's new work is no exception. Titled 'Bhakti - A Shared Longing', it will feature verses by Purandaradasa, Akkamahadevi, Kabir, Lal Ded, Tukaram, Andal, Tulsidas, Meerabai, Namdev, Sadasiva Brahmendral, Guru Nanak, Basavanna and Rabindranath Tagore. To be presented by her institution Nritarutya, which she founded in 2000 with her sister Madhrui Upadhya, 'Bhakti...' will be premiered in Bengaluru on June 13. Mayuri describes the production as 'a multilingual, multidisciplinary immersive dance-theatre presentation that weaves together the soulful legacies of 13 Indian saints and mystics from across India. The production includes texts, dialogues and different Indian languages.' She also says that dance, for her, 'is more than just movement — it is a language, a way of communicating with the world that transcends the limitations of words.' One of her most notable works is the broadway musical Mughal-E-Azam, inspired by the film of the same name, which has had 300 shows across the world. Mayuri, a recipient of the Best Original Choreographer Award (2018) by Broadway World for Mughal-e-Azam, returns to the Bengaluru stage with Bhakti... after a 14-year hiatus. She has also worked as the lead choreographer for The Great Indian Musical: Civilization to Nation. This show, now into its third season, will soon premiere at Lincoln Center, New York, shares Mayuri. 'My last show in Bengaluru was in 2014, which is why I was craving to stage Bhakti… here. ' It is an exploration of the term 'Bhakti' and the spiritual quest of human beings. It is the anchor in today's time, irrespective of age, gender, and religion,' says Mayuri. About the works of poets and mystics she has used for her production, Mayuri says: 'They are more saints to me than mere poets as I believe they discovered a deeper inner truth that they revealed/shared with humanity. The more I read about them and their works, the more I found similarities in their concepts.' Each piece in Bhakti is centered around one evocative work by each mystic, interpreted by different dancers. The production features 10 dancers belonging to different styles, from across the country. Explaining the process of bringing the production to life, Mayuri says, 'The researchers (Pooja Kaushik and Nandana Gopal) brought different aspects to the table, each with their own versions of stories that correlated well. Post this, was the process of song selection. Next was to add movements to the texts, prose and music'. Talking about the creative process, Mayuri, who was joined by Madhuri in choreographing the dance, shares: 'The poetry dictated what the movement language should be. For instance, for poetry from Bengal, we drew inspiration from Uday Shankar's dance style, for Amir Khusro, we brought in Sufi-Kathak and so on. The dancers coming from different parts of the country lent their own cultural diversity to the production.' The production has a contemporary and minimalist approach in every aspect. This is my simple but powerful response to whatever is happening around us', says Mayuri. 'Bhakti - A Shared Longing' will premiere at Chowdiah Memorial Hall, Bengaluru, on June 13, 7.30 p.m. Tickets on BookMyShow.
