Yuva Bharati presents The Living Legends A concert based on compositions of Dr. M Balamurali and Lalgudi G. Jayaraman

Performed by

Nirupama Vaidyanathan, Savitha Sastry, Nirmala Madhava and Janaki Rangarajan

Orchestra

Jayanthi Umesh & Snighdha Vekatramani : Vocal : Nattuvangam Ramesh Srinivasan : Mridangam Mohanrangan Govindraj : Flute Hrishikesh Chary : Veena

June 4th, 2011, 4:00 pm at MCCPA, Santa Clara, CA

Program Pushpanjali by Savitha Sastry, Nirmala Madhava, Janaki Rangarajan and Nirupama Vaidhyanathan Ragam: Arabhi Talam: Adi Composer: Dr. Balamurali Kirshna These invocatory dance items are performed at the beginning of every Bharathanatyam dance recital. In Pushpanjali, the dancers offer flowers to God and salutations to the stage, teachers and to the audience. The dancers pray to lord Ganesha, asking him to prevent any mishaps that might impede the success of their performance.

Hariye Gathi by Savitha Ragam: Ragamalika Talam: Adi Composer: Dr. Balamurali Kirshna This touching song by Dr Balamurali Krishna is a paean to Lord Hari, the preserver of the world and the sole salvation for all that is, has been and will be. Lord Hari is worshipped not just as the salvation for humans and saints, but for Gods such as Brahma and Shiva themselves. In the dulcet tunes of his flute, the Lord has captivated the three worlds. Across different ages, when people forget themselves and their Maker, and engage in sins such as deception and jealousy, the singer says the only recourse is at the feet of Lord Hari, who will save the world in his incarnation as Kalki – the one who rides a horse, just as he has incarnated in many Yugas over the eons passed by. The only savior, he sings, is Lord Hari.

Omkarakarini by Nirmala Ragam: Lavangi Talam: Adi Composer: Dr. Balamurali Kirshna This Devi stuti/padam is the salutation to the Goddess of Omkara, Goddess Parvathi. She is so powerful that she can destroy all the evil with just a roar. She is beautiful as the waves of music from Flute and the epitome of kindness and peace.

Panchali Sabadham (Panchali’s Vow) by Nirupama Ragam: Ragamalika Talam: Talamalika Composer: Subramania Bharathi: Music Composition: Lalgudi G Jayaraman

Panchali is brought into Duryodhana’s court following the dice game where Yudhishtira loses her, his brothers and his kingdom. She is shocked to see her husbands in this plight, and laments the course of destiny. Following Duryodhana’s orders, Duchasanan first pulls her braid, and then, attempts to disrobe her. When she seeks help, her husbands and everyone in the courtroom turn away helplessly. Bereft of support, she calls out to Krishna, who saves her by keeping her clothed throughout the ordeal and Duchasanan finally gives up in frustration. The enraged and humiliated Panchali then unties her braid and says, “I will not tie my hair till I smear it with the blood of Duchasanan and Duryodhana,” she declares seeking vengeance.

Varnam: Innum en manam by Janaki Ragam: Charukesi Talam: Adi Composer: Lalgudi G. Jayaraman This varnam talks about a heroine or “nayika” pining for the love of Lord Krishna. She says, “Don’t you understand my mind? Is it right on your part to ignore me, Oh, Yadava, Snigdha Venkatramani - Vocal Snighda is an accomplished Madhava! Is this one of your pre-rehearsed dramas? I have Carnatic vocalist, having trained under of a number of veteran been yearning for your love and have called you many times. vocalists and Gurus like Padmabhushan Dr. Nookala Chinna This is the right time; please come to me”. This is a Satyanarayana, Sri. Krishna Vageesh, Smt K. Sudha, Smt. composition of Sri. Lalgudi G. Jayaraman and the choreography Sarada Subramaniam and Guru. RadhaKrishna (of the Alathur by Dr. Janaki Rangarajan. Bani). She now trains with the Carnatica Brothers - Sh K.N. Shashikiran and Chitravina P. Ganesh. She is also a dancer. Intermission Jayanthi Umesh - Vocal Jayanthi started her music training with the late Vidushi M. Janaki and later continued with Vidushi Amma Aananda dayini by Nirupama Sugandha Raman, the well known exponent of classical Indian Ragam: Gambheeranattai Talam: Adi Music. Her Mahatee Music Academy imparts classical Karnatic Composer: Dr. Balamurali Kirshna music education. She also works with SF Bay Area's well known In this varnam, the devotee extols the power of feminine musician, Asha Ramesh in furthering her musical interests. divinity in the form of the Divine Mother. The devotee praises Vidya Balan – Nattuvangam Vidya studied Bharatnatyam Goddess Shakthi as the life-giving force for all of creation. Her intensely for several years and is a senior student of Smt. divine form is in the form of the Pranava mantra or Aumkara, Rhadha (famous disciple of Vazhavoor Ramiah Pillai). Vidya has which was the sound that acted as a catalyst for creation. played the nattuvangam for several Bay Area Dance Matter erupts and dissolves within her, and she gives all living Companies. things the pulse of life that enervates their existence. Ramesh Srinivasan - Mridangam Ramesh a well known and sought after Mridangam artist in N. America, is the leading Padam: Ennadaina Vinti by Savitha disciple of Mridangam Maestro Sangita Kalanidhi Shri Vellore G. Ragam: Murali Talam: Misra Chapu Ramabhadran. Composer: Dr. Balamurali Kirshna Mohanrangan Govindraj - Flute Mohan Govindaraj is a well In this ballad, Lord Krishna’s lover is shown venting her feelings known musician who was inspired to learn playing of frustration with the Lord, while in the end confessing that the flute from his father Sri H. D. Govindaraj. At an early age, she is nothing without Him. This delicately nuanced song in 1979, he started his flute career under the tutelage of describes a one sided conversation that the heroine has with Vidwan S.A. Sashidhar at Vijaya College of Music, Bangalore. her Lord, where she reacts to what she has heard from people, He continued his advanced music education under the guidance that He has relationships with several others, and that He has of Late Sangeetha Kalarathna Prof. H.V. Krishnamurthy. abused her trust and her love. She accuses the Lord of keeping Hrishikesh Chary - Veena started learning veena at the age company with undesirable people while pretending to her that of six from his father, Sri Srikanth Chary a disciple of the music He does not. While bitterly ending her soliloquy implying that Maestro Lalgudi Sri G. Jayaraman. Hrishikesh has also provided He should part ways with her and that her (truthful) words are orchestral accompaniment for Chinmaya Mission fundraiser causing him pain but the words are not unjustified. She ends up programs, including a CD release entitled “Bhakthi confessing that life itself would have no meaning if He really Rasaamrutham”, and provided orchestral accompaniment in the took her word and left her, and that she would become the 2008 Ethnic Dance Festival, held at the San Francisco Palace of laughing stock of people if He was to leave her hand. Fine Arts. In 2010, Hrishikesh won the prestigious Cleveland Aradhana concert competition, and was awarded a tambura and Javali: Marula Minchera by Nirmala the opportunity to present a concert at the 2011 festival. Ragam: Janjhuruti Talam: Misra Chapu Hrishikesh has also given vocal and veena performances for the Composer: Dr. Balamurali Kirshna Swara Lahari television program. The Nayika is inviting her lover to come and spend time with her. She explains her overwhelming love for him and her intense desire for his company. She is unable to comprehend Artists’ Bios any separation from him. She says that you are the most Dr. Janaki Rangarajan is a Bharatanatyam dancer and a beautiful thing ever. All my love is for you only. Please do not senior disciple of Dr. Padma Subrahmanyam. She is an say that you will come back again and go away from me. Please empanelled artist of the ICCR and Arts Council of Fairfax come and stay here with me. I can fill my eyes with your County. In 2010, Janaki was awarded the Strauss Fellowship presence forever. I feel like I am over the skies among the for Choreography and was selected to perform at the D.C. Host clouds when I am in your company. Oh my love, please come Committee Showcase during the Dance/USA conference in and stay in my company forever. Washington, D.C. Janaki has just returned from a successful performance tour of India where she had 16 solo Thillana Medley by Savitha Sastry, Nirmala Madhava, and performances in 8 cities. Janaki has a classical Indian dance Nirupama Vaidhyanathan and music school “Nrityaniketan” in Virginia. For more Ragam: Hamirkalyani, Brindavani, and Khamas information about Janaki, please visit www.nrityaniketan.com. Talam: Adi Composer: Lalgudi G Jayaraman Nirmala Madhava is a performer as well as dance instructor The thillana is a melodic and rhythmic finale to the program. and chief choreographer at PAMPA Dance Academy. Nirmala Three of Lalgudi G Jayaraman’s thillanas have been linked into Madhava is proficient in both Bharatanatyam and Kathak dance a medley. The dancers will perform the pallavi of the forms. She learned Bharata Natyam from (late) Smt. Lalita Hamirkalyani, the anupallavi from Brindavani, and the sahithya Dorai and (late) Smt. Narmada, in Bangalore. Nirmala learned segment from Khamas. In the sahithya, the devotee praises Kathak (Lucknow Gharana) from Dr. Maya Rao of Natya Lord Muruga whose beauty is unparalleled and who arrives Institute of Kathak and Choreography in Bangalore. She also riding on a peacock. had the unique opportunity to work with world-renowned choreographer, Lawrence Pech, in San Francisco Opera’s Tatvam by Savitha Sastry, Nirmala Madhava, Janaki production of Aida by San Francisco Opera House. Rangarajan and Nirupama Vaidhyanathan Ragam: Talam: Nirupama Vaidhyanathan is a well-known dancer, teacher, Composer: Dr. Balamurali Kirshna choreographer, and arts writer. Nirupama trained under an This song denotes a rhetorical exchange that a devotee has impeccable lineage of gurus, imbibing the Vazhuvoor style of with Lord Shiva. From a very literal angle, it seems like the Bharatanatyam under Guru Swamimalai S.K. Rajarathnam and devotee is unable to find any object which is untouched by a received advanced training in abhinaya, the art of facial living creation of God to be given as an offering in worship. expression, under Guru Kalanidhi Narayanan. Guru Kamala The water that could be offered to the Lord is tasted by the Rani trained her in nattuvangam, the art of conducting a dance fish, milk by their calves and flowers by the bees. The recital. Nirupama maintains high standards of excellence in philosophical import of this song suggests that God creates and teaching at her school – The Sankalpa School of Dance. pervades every living and nonliving object on earth and there is nothing that is novel to Him. Savitha Sastry is a leading exponent of Bharathanatyam. She commenced at the age of six under the guidance of Guru Mahalingam Pillai of the Raja Rajeshwari Dance Academy in Mumbai. She continued her artistic endeavor under the tutelage of world renowned gurus and Adyar K. Laxman in Chennai. Apart from performing as a soloist, she was cast as the principal dancer with the prestigious Soorya productions of Rhythm and Sangamam. Her exclusive coterie of students train with her at the Sadhana Dance Academy in San Jose, CA.