Review on my 1st concert at the Capital city...
A bouquet in cadence
http://www.hindu.com/fr/2011/04/29/stories/2011042950110200.htm
Endowed with a good voice, N.J. Nandini, a Thiruvananthapuram-based youngster still in her teens, structured her maiden concert in the Capital very impressively the other day. Nandini presented song after song that spoke highly of her depth in Carnatic music. The concert was organised jointly by Gayathri Fine Arts and the India International Centre at the latter's auditorium. The short virutham spanning a couple of minutes which preceded the invocation song on Lord Vinayaka in raga Hamsadhwani provided ample hints of her musical talent at the very outset.
Nandini's crisp and fast-paced swaraprastaras that followed “Namami Vighnavinayaka” (Hamsadhwani) was lively. In Swati Tirunal's “Jayajaya Padmanabhaanujesha” in raga Manirangu, she brought out the finer aspects of this raga embedded in the lyrics. Tarangampadi Panchanada Iyer's composition “Biranabrova ide” in raga Kalyani and Tyagaraja's “Dachukovalena” in Todi underwent elaborate treatment. Nandini gave a good account of herself handling these items including the creative aspects like delineating these ragas, niraval and the swaraprastaras. However, one feels she should avoid the graha beda techniques at this point of her career. Delhi's VSK Chakrapani provided enthusiastic and encouraging support on the violin. N.J. Nandagopal, Nandini's elder brother, provided understanding support on the mridangam and played a riveting tani avartanam (percussion solo) in Misra jati Jhampa tala.
http://www.hindu.com/fr/2011/04/29/stories/2011042950110200.htm
Endowed with a good voice, N.J. Nandini, a Thiruvananthapuram-based youngster still in her teens, structured her maiden concert in the Capital very impressively the other day. Nandini presented song after song that spoke highly of her depth in Carnatic music. The concert was organised jointly by Gayathri Fine Arts and the India International Centre at the latter's auditorium. The short virutham spanning a couple of minutes which preceded the invocation song on Lord Vinayaka in raga Hamsadhwani provided ample hints of her musical talent at the very outset.
Nandini's crisp and fast-paced swaraprastaras that followed “Namami Vighnavinayaka” (Hamsadhwani) was lively. In Swati Tirunal's “Jayajaya Padmanabhaanujesha” in raga Manirangu, she brought out the finer aspects of this raga embedded in the lyrics. Tarangampadi Panchanada Iyer's composition “Biranabrova ide” in raga Kalyani and Tyagaraja's “Dachukovalena” in Todi underwent elaborate treatment. Nandini gave a good account of herself handling these items including the creative aspects like delineating these ragas, niraval and the swaraprastaras. However, one feels she should avoid the graha beda techniques at this point of her career. Delhi's VSK Chakrapani provided enthusiastic and encouraging support on the violin. N.J. Nandagopal, Nandini's elder brother, provided understanding support on the mridangam and played a riveting tani avartanam (percussion solo) in Misra jati Jhampa tala.
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