Tribute to Nedunuri

T. Srinidhi demonstrated her experience in a concert dedicated to Nedunuri Krishnamurthy.

December 24, 2015 04:00 pm | Updated 04:00 pm IST - HYDERABAD

Srinidhi's vocal concert.

Srinidhi's vocal concert.

HYDERABAD: T. Sreenidhi is an eminent Carnatic musician and a playback singer. A disciple of Nedunuri Krishnamurthy, she has performed in major sabhas in India and abroad. Back home in Ananthapur, her father Subramanyacharyulu and mother are Carnatic vocalists.

Recently Srinidhi gave a concert for South Indian Cultural Association (SICA) at Ravindra Bharati’s conference hall in the company of R. Dinakar on violin and Karra Srinivas on mridangam. This concert was dedicated to Nedunuri Krishnamurthy, on the occasion of his first death anniversary.

Dramatic appeal

Blessed with a pleasant voice, Srinidhi opened her concert with Saveri varnam Sarasuda and sang spiritedly in two speeds. She then went for a rare number Bhajamanasa Vighneswaramanisam of Tulasivanam in Bahudhari that eulogises the lord with many attributes.

She launched this number with brief ragalapana that signalled how disciplined she is in building the melody. Later, she took up Dikshitar’s composition Parvati Kumaram Bhavaye in Natakuranji and presented it with sahitya clarity. She then chose a rare number of Thyagaraja, Bhavanutha Naa Hridayamu Nalarimpumu, in Mohana, which she rendered with perfect diction and concluded with brief swarakalpana.

This was followed by another kirtana of Thyagaraja, Emani Vegintune Srirama, in Huseni, a composition from Thyagaraja’s ‘Prahlada Bhakti Vijayam’ and her rendition made dramatic appeal. She then took up Begada for brief expansion and rendered in this the composition of Ramnad Srinivasa Iyengar, Anudinamunu Kaavumayya . Kalpanaswaras she presented in the end gave the number a wholesome look.

Srinidhi then sang Ninnadanela of Thyagaraja in Kanada that set the path for the main number of the concert Mamava Meenakshi of Dikshitar in Varali. The way she built the raga with care and perfection earned end result of pleasant melody. The kriti rendition too was comprehensive with right pronunciation of this script written in Sanskrit. The swarakalpana too was well presented with tempo. The Tani avartanam by the percussionist was interesting. Violin support was uniformly good elevating the vocalists output.

The later part of the concert brought in some light classical numbers like Janaki Ramana Dasaratha Nandana in Kapi of Vanamamalai Jiyyar Swamy, a Pasuram from Tiruppavai in Nata, Tamil composition Ragathil Shirandhu of Kadalur Subramanyam in Ragamalika, Sarvam Brahmamayam in Madhuvanthi of Sadasiva Brahmendra, an abhang Vittobha Chalo Mandira in Marubehag of Santh Namdev and tillana of Maharajapuram Santanam.

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