Muscat Diary


As announced in these columns recently, Nadopasana, a Muscat (Oman) based voluntary organization devoted to Indian classical music, staged a double concert on Saturday, the 25th March 2017. It featured two young and promising stars of the Carnatic genre. The morning session was a vocal concert by Nandini Neelakantan, while the evening session featured the vocal recital of Vignesh Ishwar. M S Ananthakrishnan accompanied both artistes on the violin. All three artistes flew in from India, while the percussion accompaniment was provided by local artistes. The ICCR (Indian Council for Cultural Relations) very generously sponsored the travel of the visiting artistes. The whole thing was made possible by the encouragement and enthusiasm of HE Mr. Indra Mani Pandey, the Ambassador of India to Oman. Both Nandini and Vignesh are in their twenties. At the end of their concerts, I felt in the depths of my heart…

Kalasagaram’s annual fest: Confluence of music forms

Friday Review, The Hindu 16 Dec 2016

Nandini’s vocal

Noted vocalist N.J. Nandini figured in the company of K.V. Krishna on violin, V.V. Ramanamurthy on mridangam and P.V. Ramanamurthy on ghatam. Nandini opened her concert with Kambhoji varnamSarasijanabhaof Swathi Tirunal done in two speeds. This was in Ata talam.
This was followed by Paripatheesa Ghana Roopa in Adi talam with brief swarakalpana. Then she chose to present raga Devamanohari for a brief alapana for the composition Evarikai avatharamethithivo of Thyagaraja. It was explicitly rendered. The swarakalpana part was a bit long. Then she took up raga Sudha Ormika janya of Simhendramadhyamam for a brief alapana and the composition she presented in this was Neikarapathi of Pallavi Sesha Iyer. This was followed by the main number of Nandni’s concert Kaddanu Vaariki in Thodi of Thyagaraja.

The Hindu Friday Review 21 Oct 2016

N.J. Nandini, accompanied by Trivandrum Sampath, Nanjil Arul and Kottayam Unnikrishnan, portrayed a neat ‘Meusamana’ (Mayamalavagoula) decked with niraval and swaras.
She presented an energetic Hamsanandi and succeeded in attempting sruthibhedam at rishabha to result in Hindolam, followed by the kriti ‘Sankara sreegiri’. Harikamboji was the main raga of the evening and the composition was ‘Enthuku needaya’.

The Hindu Friday Review 5 August 2016




N.J. Nandini The first concert was by N.J. Nandini. The day was dedicated to Tyagaraja. Her musical acumen and enviable manodharma were distinctly noticeable throughout the recital. The impressive varnam ‘Sarasijanabha’ (Kamboji), followed by ‘Neekaelana’ (Devamanohari), a chaste alapana of Kedaragowla preceding the kriti ‘Saamikisarievvare’ and a bhava-rich ‘Enthaninne’ (Mukhari) appended with a crisp niraval and swaraprastharas spoke volumes about her virtuosity. Her scintillating delineation of Thodi and the expressive presentation of ‘Dasukovalena’, ornamented with a vivacious niraval and brilliant swara korvais, offered a superb aural treat. Surajananda’s ‘Muruganin Marupeyar’ (Behag) and M.D. Ramanathan’s ‘Saagarasayana’ (Bageshri) were soaked in melody. Nellai Viswanathan could not match Nandini on the violin. While Nanjil Arul’s mridangam accompaniment was too aggressive, Manjoor Unnikrishnan was skilful on the ghatam.…

Snow White And The Seven Dwarfs

The Hindu Art & Culture - 10th July 2015