Young voice enchants audience

Pandit Nagaraj Havaldar along with Virabhadriah Hiremath (Harmonium) and Ramesh Dhannur(Tabla) performing at Prasanna Sita Rama mandira, in Mysore.

He was brimming with confidence and sang vigorously in spite of a voice that  did not have much of a  volume or loudness. The style of his presentation helped in striking an immediate rapport with the listeners. 

He has trained his voice to  produce an impressive effect ,thus paving his way to success. Charulatha Ramanujam (Violin), H S Sudhindra (Mridanga) and M R Manjunath(Ghata) contributed immensely for the success of this concert.

Bharath took off with a varna in Shahana Raga and sang ‘Nee Dayarada (Vasanthabhairavi-Rupaka-Tyagaraja) in a quick tempo.

Then he unveiled the Raga Natakapriya in a very matured way. The spirals he produced were inspiring and enhanced the  beauty of the raga. ‘Idi Samaya brovarada’ , a rarely heard Krithi of Mysore Vasudevacharya was convincing.

A neraval at “Paramapurusha Vasudeva Garudagamana gaanalola” was followed by a lavish kalpana swaras.

His maturity was again expressed in the alap of Mukhari that lead to the popular ‘Ksheenamai’ of Tyagaraja. This was followed by yet another interesting piece of Krishnaswami Ayyar “Amba varadevathe” in Rudrapriya raga.

The main Raga of the day was Kalyani which revealed his fertile imagination. He did not leave any possibilities of Kalyani unturned and sang like a veteran.  The Raga bhava was overwhelming in each phrase. The change of scale was done effortlessly to mohana, shuddhadhanyasi and back. ‘Nidhichaala Sukhama’, a gem of Tyagaraja found new dimensions in his singing. The meaningful phrase “Mamathabandhana...” blossomed in different directions when he chose it for an elaborate neraval.  The Tani between Sudhindra and Manjunath was an extension of the musical experience. Bharath has a very promising future.

  A senior Hindustani artiste of our State Pandit Nagaraj Havaldar presented a vocal recital at Bidaram Krishnappas Prasanna SitaRama mandira along with Virabhadriah Hiremath (Harmonium) and Ramesh Dhannur(Tabla). Young Omkar Havaldar accompanied his father. Havaldar has a deep voice that suits classical Hindustani music. His approach to music is like a calm river that flows quietly, peacefully and no jumping or roaring.

He extends this feeling to his listeners too. The very opening Yaman confirmed this with a deep mandra sthayi in which he touched the lower shadja impeccably. The bandish ‘Kaahe sakhi’ expanded the inner beauty of every note in an unhurried pattern. Dhruth was attractive as ‘Sham bajaye aaja muraliyan’ caught the required speed. This was followed by Rag Abhogi, a Karnatak raga which tasted differently with Hindustani flavour.
Nagaraj Havaldar is an expert in singing Devaranama ana Vachanas. Kanakadasa’s ‘Nee maayeyolago  ninnolu maayeyo’ in Multhani and ‘Nanenu madideno’ in a combination of Bhatiyar and Bhairav proved this. He rounded off with ‘Kayo Karunanidhe’ in Bhairavi. Veerabhadraiah Hiremath gave a very good sath on the Harmonium within the opportunity he got. Ramesh Dhannur’s Tabla sath was equally good. Young Omkar proved that he is a promising vocalist.

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