Mrinalini Kotur मृणालिनी कोटूर (Sitar)

 Mrinalini Kotur मृणालिनी कोटूर (Sitar)

Attended Sitar concert of Mrinalini Kotur. She was accompanied by Aashay Kulkarni on Tabla. This private concert was organized at picturesque Valley view resort, Panhala on the occasion of Nachiket-Shivani's wedding on 15th Mar 2026.

Main Raag of the evening was 'Raag Puriya Dhanashree'. It's an evening Raag of Purvi Thaat. Apt choice for the time of the concert.

First she played Vilambit and then in drut Ektaal. She neither tried to play anything jazzy nor play the audience. She just played traditional serene Sitar with clear notes and a lot of soul in it mesmerizing the audience.

Concert concluded with my favorite 'Raag Bhairavi'.  Bhairavi stirs emotions in me. Nandkishore Banchhode joined Mrinalini on Tabla. So the brother sister duo enthralled the audience. I got goosebumps.

Effect of melodious Sitar was enhanced by the beautiful open air venue with backdrop of a huge tree and setting of the valley behind and twilight. What an experience.

At the end of the concert everyone wanted more. I think that's the validation of a good concert.

Mrinalini is disciple of Rudraveena and Sitar maestro Vidushi Jyoti Hegde. Aashay is a disciple of Taalyogi Pt. Suresh Talwalkar.

Concert was attended by friends and family audience of 70 persons. It's said that a small knowledgeable audience is better than a large uninitiated audience. That's what it was.

A good concert that will remain in the memory.

Amar Oak अमर ओक (Bansuri)

Amar Oak अमर ओक (Bansuri)

Attended Bansuri concert of Amar Oak. He was accompanied by Advait Gokhale - Tabla and Sumey Gumaste - Flute accompaniment. This baithak was organized by ADICM, Abu Dhabi. I attended the concert with Aditi, Prakash, Swati, Jayant and Sucheeta on 15th Feb 2026.

Bada Khyal of th concert was 'Raag Ahir Bhairav'. A Raag for Bhagwan Shankar, an apt choice on the occasion of Mahashivratri. He played three compositions. First in Vilambit Ektaal, second in Madhyalay Jhaptaal. This was a Bandish, composed by Pt. Kedar's Bodas specifically for Bansuri. Third in Drut Teentaal. He  played the most famous brandish of Ustaad Sultan Khan, Albela Sajan Ayo Re. He played several delicate and difficult notes and was applauded every time by the knowledgable audience. 

He then presented Chota Khyal, it was 'Raag Desh'. This too was appreciated by audience. However, I felt that this was a little bit on shorter side. Some more detailing would have been nice.

Amar then played the favourite Raag of Bhagvan Shri Krishna, Raag 'Vrindawani Sarang'. He played this serene Raag masterfully without tabla accompaniment in the first section. It was pure bliss. Wow! The clear notes and attention to details, breath and finger control and his dexterity made this a very special one that will remain in the memory for years.

Tabla then joined in and they played improviso. The section ending with Swal-Jawab with Tabla. Audience enjoyed Sawal-Jawab very much and applauded Advit many times. These were his 15 minutes in the limelight.

Concert concluded with my favorite 'Raag Bhairavi'. Whenever this Raag is played I get goosebumps. It stirs unexplainable emotions. In this Raag, I liked the first portion that he played without Tabla more. This was a fitting finale.

Needless to say that when the concert ended there was a grand applause and standing ovation. The audience couldn't stop clapping.

Amar is disciple of Pt. Kedar Bodas and Pt. Hari Prasad Chourasia. He is a well known TV personality, accompanying artists in reality shows and playing for Marathi film industry. He is famous for his light music. This was the first time for me to watch him play classical music. It came as a great surprise that although, Amar has toured abroad and is part of several concerts, this was his first purely classical music concert out of India. And we were fortunate enough to witness this momentous occasion. I hope he devotes some more time for classical music. It will be Indian classical music's loss to lose this classical musician to light music. Amar encouraged Ameya and Advait to play without hesitation. He also ensured that Advait gets his due credit. A sign of great artist! He has a pleasant personality and has no attitude making him instantly likable.

Advait started a bit tentatively but caught up quickly and proved to be an able accompanist. Sumey did his job well but was a bit shy to try out difficult notes. It must be a good learning experience for him.

Concert was attended by more than 100 persons. Good sound system and fantastic music made the concert a memorable one. Special mention to passionate (दर्दी) audience who applauded at all the right places and finer notes. 

I loved the concert so much that I composed a short poem about it. But the poem is for some other day to post.

A memorable concert that will be cherished. 

Gandhar Bhalerao (Bansuri)

 Gandhar Bhalerao (Bansuri)

Attended Bansuri concert of Gandhar Bhalerao. He was accompanied by Advait Gokhale - Tabla and Sumey Gumaste - Flute accompaniment. This home baithak was organized by ADICM, Abu Dhabi. I attended the concert with Nandu on 16th Nov 2025.

Bada Khyal of th concert was 'Raag Ahir Bhairav'. It's an early morning Raag in Bhairav Thaat. This Raag is fabled to mimic the ringing of cow bells in the morning. Gandhar started the Raag with a serene aalap followed by Jod-Jhala. Tabla joined in with Taal Rupak. Audience appreciated the Raag by applauding the artists at all the right places.

He then played the most famous brandish of this Raag 'Albela sajan ayo re (अलबेला सजन आयो रे)' popularized by Ustaad Sultan Khan in 1970s and later repopularized by him in movie 'Hum dil de chuke sanam'.

He then presented Chota Khyal, a rare morning Raag Devgiri Bilawal, a Raag that is a blend of Yaman and Shuddha Kalyan with Bilawal in Addha Teentaal. I had never heard this Raag before. He said that this Raag is on the verge of extinction and it's the responsibility of the musicians of his generation to keep it alive. It shows his understanding of the situation as well as love for the Raag.

He then played a short composition of Raag Alhaiya Bilawal in drut lay in Teentaal followed by a composition from late morning Raag Shuddha Sarang of Kalyan Thaat in Teen Taal.

He played a small composition in Raag Hansadwani upon farmaish from the audience.

Concert concluded with Pahadi Dhun, that has become synonymous with Bansuri. He was humble enough to acknowledge that this entire composition in of Pandit Hariorasad Chaurasia and he has added nothing of his own in it.

Gandhar is a student of Vivek Sonar and Nishad Bakre. Gandhar appreciated the organizers for allowing him to choose what he wants to play and express himself freely. Credit to ADICM. He is humble and's has a sweet personality. He also acknowledged the audience for their knowledge.

Advait proved to be an able accompaniment to Gandhar. His Tabla tuning gave him some trouble. Sumey, Gandhar's friend and student, provided the support to give him the breather.

Concert was attended by around 40 persons. Excellent sound system, knowledgable audience, fantastic music and cozy atmosphere made the concert a memorable one.

A good concert.

Omkar Prabhughate (Vocal)

 Omkar Prabhughate (Vocal)

Attended vocal concert of Omkar Prabhughate. He was accompanied by Shrey Bhardawaj on Tabla and Amogh Ranade on Samvadini. This concert was organized by Triveni Sangeet Sabha, Abu Dhabi. I attended the concert with Aditi on 8th June 2025.

This was a concert of Natyasangeet and Abhang. A unique concept. Natyasangeet is Marathi's unique gift to the vast array of classical and semi classical music of India. Abhang are integral part of Marathi culture.

Concert started with 'Indrayani Kathi (इंद्रायणी काठी)'. He won the audience over in the first song with his soulful voice, variations and precise presentation.

He then presented 'Guntata Hruday he (गुंतता ह्रदय हे)' from Sangeet Matsyagandha. This was appreciated by everyone immensely. Harmonium player was appreciated during this song. It was followed by a little known Natyageet 'Brahm Murtimant (ब्रह्म मूर्तीमंत)' from Sangeet Gora Kumbhar. Tabalji was applauded during this song.

Then came the immortal song 'Kata rute kunala (काटा रुते कुणाला)'. What to say about this song. Suffice to say that Omkar gave full justice to the song. It was followed by relatively unknown Abhang 'Dhyan lagle Ramache (ध्यान लागले रामाचे)'.

He then presented a couple of songs from his own play 'Goshta Samyukta Manapmanachi'. It was 'Zale yuvati mana (झाले युवती मना)'. His variations in this song were special and were hugely applauded. It was followed by 'Shura mi vandile (शूरा मी वंदिले'.

A Gawlan 'Shriranga Kamalakanta (श्रीरंगा कमलाकांता)' from Sangeet Honajibala came next. This is one of the rare Natyageet Gawlan. Everyone liked it.

Audience then made a farmaish of 'Chandrika hi janu (चंद्रिका ही जणू)' from Sangeet Manapman. Here he presented the version in Teen taal instead of the more famous one in Rupak taal. It was followed by 'Bahut din nach bhetlo sundarila (बहुत दिन नच भेटलो सुंदरीला)' from Sangeet Shubhadra.

Last presentation of the concert was Abhang 'Awaghe Garje Pandharpur (अवघे गर्जे पंढरपूर)'. The song concluded with Gajar (गजर). Audience participated wholeheartedly in it. The experience of Gajar always gives goosebumps, so it did.

Audience wasn't ready to leave when the concert was over. That should count as the biggest applause.

If Omkar continues acting in Sangeet Natak as career, we have a superstar in the making. He sings beautifully, has a forceful (खडा) voice, has good range, his diction is impeccable and he is handsome. What more can you ask from a hero. Although all the songs he sung were well known famous songs, he didn't just copy the original singer. He added his own variations, taans in his own style.

Omkar presented compositions of stalwarts like Pu. La. Deshpande, Pt. Jitendra Abhisheki, Prabhakar Pandit, Govindrao Tembe. He interspersed his songs with information about Natyasangeet, trivia and stories of the birth of songs connecting directly with the audience. This happened to be his first international concert. I am sure there are many more to come.

Tabalji appeared to be unfamiliar with some of the Natyageet and needed occasional guidance from either Omkar or Amogh. Otherwise he accompanied ably.

Amogh played very well and drew applause several times. He did really well. I would like to see more of him in future.

Concert was attended by about 45 persons. But rather than the quantity, it's the quality of the audience that impressed me. They were all knowledgeable and applauded at all the right places and recognized all the minute variations.

This was a rare concert, a concert with Natytageet at its core. You don't get to attend such concerts even in India. Congratulations to the organizers for conceiving and organizing such unique thematic concert.

A very satisfactory experience.

Mandolin siblings (Mandolin)

Mandolin siblings (Mandolin)

Attended Mandolin Duo concert of Kumari Samhita Shivram and Shreyes Shivram. They were accompanied by Palghat Shri Krishnarajan on Mridangam and Shri Manjesh Mohanan on Ghatam. This concert was part of annual Swar Raga Sudha festival by Raagmalika at Sudanese club, Abu Dhabi. I attended the concert with my father-in-law on 1st June 2025.

Concert started with Ganpati Stavan. It was famous Vatapi Ganpatim, a famous Kriti of Muthuswami Dikshitar in Raag Hamsadhwani. There were sawal jawab between mandolins. It ended with an applause.

Second presentation was Endaro Mahanubhavulu, a popular Kriti by Tyagaraja in Raag Shri.

Next presentation was another Kriti by Tyagaraja, Manavyalakinchara in Raga Nalinkanti. This was a farmaish to the artists before the concert.

Next presentation was another Kriti by Tyagaraja. Samaj vara gamanaa in Raag Hindolam.

This was followed by the time for accompanists. First it was the Mridangam. Krishnarajanji demonstrated the nuances of Mridangam with forceful and delicate play. It was followed by Ghatam where Manjesh Mohanan ji demonstrated variations of Ghatam play. It was folllowed by the sawal-jawab between Mridangam and Ghatam. Then the Mendolins joined in for the conclusion.

A chit from audience demanded some song that was not taken by the artists.

They then played Bho Shambho, composed by Shri Swami Dayanand's Saraswati, in Raag Revati. This was the concluding piece.

So it started with Ganpati and ended with Shambho.

Organized had given only mini concert slot for the concert but they appreciated the duo compared the concert with main concert.

One doesn't get to watch Mandolin concerts very often. I don't know many mandolin players apart from U. Srinivas and U. Rajesh. 

Broadway sound system was good.

Unfortunately, lesser known artists don't draw the audience. Concert started with a mere attendance of 18. Timing of 4pm also didn't help. Audience kept trickling in to reach xx by the end of the concert.

Ragamala has been organizing 2-3 day event of Carnatic music every year for past 20 years. It's a commendable effort by the organizers to inculcate and nurture the Indian classical music in Gulf.

A good concert.

Yashwant Vaishnav (Tabla)

 Yashwant Vaishnav (Tabla)

Attended Tabla Solo concert of Yashwant Vaishnav. He was accompanied by Nilay Salvi on harmonium. This concert was organized by Maharashtra Mandal Abu Dhabi at Embassy of India auditorium. I attended the concert with Aditi, Jayant, Sucheeta, Nandu, Deepa, Manish and Trupti.

This concert was divided into two parts. First part was composed of five songs by MMAD local artists Sachin Raje, Siddhi Chonkar, Adwait Gokhle, Girish Pande, Yuvraj Kochale. They were accompanied on Tabla by Adwait Gokhale and Nandkishor Banchhode. Nilay Salvi was gracious enough to accompany the local artists on harmonium.

The selection of the songs was very good. Sakhi mand zalya taraka (सखी मंद झाल्या तारका), Yad piya ki are (याद पिया की आप), Kata rute Kunala (काटा रुते कुणाला), Jhanak jhanak tori (झनक झनक तोरी), Kanada raja Pandharicha (कानडी राजा पंढरीचा). These are all famous, good songs with classical base. They covered most of the categories. Be it Bhav geet, Thumri, Chitrapat Sangeet, Abhang.

Classical music is expertise of Siddhi and Girish, Sachin's voice is most suited for Bhavgeet, Advait demonstrated his versatility with singing and rhythm, Yuvraj and Bhajan are made for each other. The gajar (गजर) gave goosebumps.

This first half by the local artists was excellent. It was of professional quality and high grade. It felt like the first half ended quickly and a couple more songs would have been nice. And there lies the success of first half. This set the stage for what was to come next.

Yashwant ji chose Teen taal for the concert. He presented Peshkar, several Kaydas from Punjab, Delhi and Ajrada gharana, various types of Rela and Chakradar.

He has lightening fast fingers. His fingers danced like a lightening and he enthralled the audience. Even those who have never attended a classical concert came out with a smile on their face.

Yashwant ji is a very soft spoken and humble gentleman. His humility was evident. He involved the audience asking them to clap in rhythm and audience complied spontaneously.

Audience was in the awe and couldn't stop clapping. They loved him. Needless to say that he got a Standing Ovation at the end.

Nilay was very good on harmonium. He kept up with the main artist and provided a very good accompaniment. I should appreciate him for being nice enough to a accompany the local artists with just a practice of couple of hours with them.

The sound system was very good but the mike of Dagga  was a little low, so the finer notes were hard to hear.

This was a very unconventional concert. There was no build up. Nothing Vilambit. Nothing Madhyalay. Direct dive to Drut, and continue in Drut. A storm on Tabla.

Either the artist chose to play for the audience, knowing that most were not connoisseurs of classical music, or that was all that he could present in one hour. Would the format have changed to a conventional one if two hours were allocated?

A very unconventional but good concert.

Swar Deepotsav 2024 (स्वर दीपोत्सव २०२४)

Attended Swar Deepotsav 2024 (स्वर दीपोत्सव २०२४), a concert celebrating Diwali morning. Main singer of the concert was Hrishikesh Ranade and Swapnaja Lele. He was accompanied by Vikram Bhat on Tabla, Abhijeet Made on Octopad, Kedar Paranjpe (he was also the arranger) and Yash Bhandare on Keyboard. This program was anchored by Madhura Velankar. This concert was organized by Maharashtra Mandal Abu Dhabi (MMAD) on 2nd Nov 2024 at Al Jaheli theater, Armed Forces Club, Abu Dhabi. I attended it with Thangaokar, Banchhode, Mane, Patil, Sambhaji, Kamble and Oka families.

Diwali early morning or morning concert is a tradition of Maharashtra. The content varies from instrumental to classical to light music. But unless you send Diwali Pahat or Diwali Sakal concert, Diwali is incomplete. MMAD has kept this tradition alive in Abu Dhabi for all these years.

Pre-concert performance was by  MMAD member, Manas Jain. He played solo guitar and enthralled the audience.

Concert started with Ganesh vandan "Sur niragas ho (सूर निरागस हो)". The audience got involved in the concert from this first song and started clapping. It was appreciated by the artists.

Hrishikesh started with a medley. Nij roop dakhva ho (निज रूप दाखवा हो), Zala mahar Pandharinath (झाला महार पंढरीनाथ) and Kanada raja Pandharicha (कानडी राजा पंढरीचा). This medley was a tribute to Sudhir Phadke (Babuji). His next tribute was to Srinivas Khale with his immortal and difficult song "Bagalyanchi malphule (बगळ्यांची माळफुले).

Hrishikesh sang all these songs very well with additions with his variations. Not too many to make the song unrecognizable but enough to stamp his individuality.

Then entered Swapnaja Lele and presented two songs "Ka re duraavastha (का रे दुरावा)" and "Ruperi walut (रुपेरी वाळूत)". Singing Asha Bhosale songs is never an easy job, but Swapnaja did a decent job in first one. She sung second one very well.

Hrishikesh then sung his original song "kadhi tu rimzim zarnari barsat (कधी तू रिमझिम झरणारी बरसात)". Audience applauded as soon as he announced it. This was worth a 'once more' and they got it. Since this song from movie Mumbai-Pune-Mumbai was appreciated he sung two more songs from the sequels of this movie. "Saath de tu mala (साथ दे तू मला)" and "Tula pahta (तुला पाहता)". Audience was mostly quiet for these two songs as they are not as famous as the first one.

Madhura then presented a beautiful poem about Radha. But she didn't name the poet. Since Radha is a special topic next two songs had the same theme. First was "Radha hi bawri "(राधा ही बावरी)". The audience sung these lines in unison as chorus to the main singer. It created very good vibes. Second was the song that won multiple awards "Jeev rangla (जीव रंगला)". It's such a beautiful song. The singers did full Justice to it.

He then sung his own song that got him the Mirchi award. "Jata jata tipur chandne (जाता जाता टिपुच चांदणे)". It was a lesser known song, the audience response was Luke warm. However, he doing very well.

Swpnaja then presented a lavni "Reshmachya reghani (रेशमाच्या रेघांनी)". The opening dholki piece was played by Vikram on Tabla and was hugely applauded. Audience made him play it again after the song ended. Lavni always draws big applause and whistles in any concert. This one was no different. Although it was difficult to match with Asha Bhosale, the original singer, Swapnaja did well. Lavni is a rhythmic Marathi genre that everyone likes to listen but is frowned upon socially. 

That was interval.

First song after the break was "Swaye Shri Ram Prabhu aikati (स्वये श्री रामप्रभू ऐकती)" from Geetramayan. MMAD member Girish Pande joined them on stage for this song. MMAD member Sachin Raje joined in for next song "Prem he (प्रेम हे)". It was a nice gesture to involve the local talent by MMAD and kindheartedness by Hrishikesh.

Hrishikesh then sung the song "O Rama (ओ रामा)" that he had sung for the Hindi version of movie "Seeta Ramam". It was a little known but good song. They then presented a Kishore Kumar songs Yeh Jo mohabbat hai (ये जो मुहोब्बत है) , kehna hai (कहना है). Audience expected more of Kishore Kumar, but that was it. Madhura presented a beautiful Vaibhav Joshi poem on Lata Mangeshkar. It was followed by Piya rose naina lage re (पिया केले नैना लागे रे). It's a difficult song.

Madhura asked for a choice of audience between Sufi and Gazal. Greedy audience refused to choose and demanded both, so couple of Mukhda of each were presented. Gazal was Ghulam Ali's "Awargi (आवारात)". The Sufi song was "Teri deewani (तेरी दीवानी)". It's impossible to match the pitch of Kailash Kher but he did well. Hrishikesh sung these songs from a genre, that I haven't seen him sing much, with dexterity. 

Penultimate song was "Nigahein milane ko jee chahta hai (निगाहें मिलानेको जी चाहता है)". Although Swapnaja sung it technically correctly, the attitude of the original was missing. Final song was "Mauli mauli (माऊली माऊली)". Very meaningful words, excellent composition and the Bhaktiras make this song unique and difficult to replicate the recipe. This song is so good that it makes audience sway even when an average singer sings it. And when Hrishikesh sings it, it becomes a fitting finale for the concert.

It was an excellent concert in first half. Somehow, the break broke the flow. Although second half was good, artists appeared to be interested in wrapping it up. Although all songs were good and liked by the audience, what was missing was theme. There was no theme for the concert. Hence it appeared like a collection of beautiful flowers but not as a bouquet. Chance for improvement?

Al Jaheli theater Is a very good auditorium. Excellent acoustics, spacious, good layout and out of the city, so no parking issues. Stage lighting could have been better. Madhura and one keyboard player were in partial shadow.

Audience left the auditorium with contented smile on their faces and serene expressions. Such a concert gives satisfaction and sense of belonging. Congratulations to MMAD for the same. 

A very good concert.

Yadnesh Raikar (Violin)

 Attended an Indian classical music concert of Yadnesh Raikar (Violin). He was accompanied by Arindam Chakravarty on Tabla. This private concert was organized by ADICM in Abu Dhabi on 25th Aug 2024.

Concert started with Bada khyal. Chosen raag was Raag Lalat (ललत). Lalat is a 4th prahar of night (4am to 7am) raag from Poorvi thaat. 

Yadnesh started on a serene note that instantly touched the audience. Tabla joined-in in about three minutes. A little too early for me considering such fine and delicate serene notes were played. He played first in Vilambit and then in Madhya lay and then in Drut lay (लय). I especially liked the vilambit portion. Yadnesh was immersed in the Raaga and immersed the audience with him. I liked his style of telling Tabalji what lay (लय) he wanted through violine. 

Chota khyal presented by Yadnesh was Raag Bilaskhani Todi. Bilaskhani Todi is a 2nd prahar (9am to 12pm ) raag from Bhairavi thaat. He presented a Bandish ‘Sajani kawan des’ composed by Gaan Saraswati Kishoritai Amonkar.

He then played another Chota Khyal, Rag Hansadwani. Hansadwani is a Carnatic raaga. It is a 2nd prahar (9am to 12pm ) raag of Bilawal thaat. Later he presented a beautiful composition 'Ganapati vighnaharan gajanan' of Gaan Saraswati Kishoritai Amonkar.

Both these Raags were appreciated by the audience and applauded at the right places.

Audience suggested Bhairavi to end the concert but since Yadnesh had presented Bilaskhani todi, he chose to end the concert with Hansadhwani.

Yadnesh performed with his father Milind Raikar for Anubhooti in Abu Dhabi in 2016. Yadnesh was 15 at that time. In last 8 years he has grown and matured as a musician and has become an accomplished young artist. I had goosebumps wile listening to him. I also liked his thehraw (ठरवावं). It felt really satisfying to see his progress. We have a future start in the making.

Arindam ably supported Yadnesh on tabla. Probably they haven't performed together earlier. It was a small but knowledgeable audience encouraging the artists. 

A very good concert.

Saylee Talwalkar (Vocal)

​Attended concert by Saylee Talwalkar. She was accompanied by Bhushan Rao on Tabla and Amit Oak on Harmonium. Abhay Samant on Taal (टाळ). This private concert was organized by Anubhooti in Abu Dhabi on 8th Oct 2023. I attended with friends and family.

This concert was slightly different than usual pure classical Anubhooti concerts. This one was a bouquet of variety of genres to satiate all the tastes of audience because of lack of concert in last three years.

Concert started with Raag Ahir Bhairav (अहिर भैरव). Ahir Bhairav is a Mishra raag with Raag Bhairav in Purvang and Raag Kaafi (काफी) in Uttarang. It belongs to Bhairav thaat (भैरव थाट). It’s known as Chakravakam in Carnatic music. First bandish was Kishiriji’s Nainava Barse sajni (नैनवा बरसे सजनी). Audience applauded twice in this first peshakash. Second one was Albela sajan ayo re (अलबेला सजन आयो रे). Sayali sung the Sargam beautifully.

After the pure classical performance she moved to semi classical with Thumri (ठुमरी) / Dadar (दादरा). Today’s choice was the immortal Rangi sari gulabi (रंगी सारी गुलाबी). Needless to say that audience liked it very much.

After semi classical, it was Bhajan. She presented bhajan penned by Pt. Narendra Sharma, composed by Shrinivas Khale in raag Patdeep (प्रदीप). Sung by Pt. Bhimsen Joshi and Lata Mangeshkar. You guessed it right. Of course it was Baje muraliya baje (बाजे मुरलियाँ बाजे). 

She then presented Abhang Bolawa Vitthal (बोलावा विठ्ठल) composed by Pt. Jitendra Abhisheki and sung by Pt. Jitendra Abhisheki, Prabhakar Karlekar and Kishori Amonkar; separately. At the end of the Abhang when she started the gajar (गजर). Oh! the goose bumps! Some of the audience had tears in their eyes. It was pure bliss!

After the bliss, she presented speciality of Marathi sangeet, Bhavgeet. Written by Nitin Akhwe. Sung by Arati Anklikar-Tikekar. Composed by Shridhar Phadke. Album Tejomay Nadbrahma. Mi Radhika (मी राधिका). Very enjoyable.

She then wanted to present Bhairavi, but audience demanded Natyageet (नाट्यगीत). So she presented a natya geet on public demand.

Concert concluded with a Bhiravi. It was Bhairavi Dadra (भैरवी दादरा) “Sun Yashoda mai dungi duhai, tere Kanhane dhoom machayi (सुन यशोदा मैं दूंगी दुहाई, तेरे कान्हाने धूम मचाई)”.

Audience was starving for good music. Sayali is an accomplished singer. Bhushan and Amit are well known names in UAE music circle. Anubhooti is known for organizing quality concerts without charging any ticket from the audience. The ingredients were all there, the recipe was perfect.

This was an Anubhooti concert after a gap of three years. It was also the first at someone’s home, all previous concerts were in auditoriums. 

All in all, a very satisfactory experience.

Disclosure: I am founder member of Anubhooti.

Amol Nisal (Vocal)

​Attended an Indian classical music concert by Shri. Amol Nisal (Amol Gandharva). He was accompanied by Bhushan Rao on Tabla and Amit Oak on Harmonium. This private concert was organized by ADICM in Abu Dhabi on 29th Oct 2023. I attended with Nandu.

Concert started with Bada khyal. Chosen raag was Raag Lalit (ललित). Lalit is a 4th prahar (3am to 6am) raag from Poorvi thaat. He presented Bandish  ‘Ka se kahun’ in vilambit Ektaal.

Then he presented another Bandish of Pt. Rajan Mishra, “Jane na doongi Kanha” in Madhyalay Ektaal. Bandishes are known more for Gayaki than the lyrics. However, this one has beautiful lyrics and the singing made it even better.

He then presented a special bandish “Sadarang” in Teen taal written by Shankar Abhyankar. The speciality of this bandish is that it’s a tribute to all the famous bandish writers of past.

Chota khyal presented by Amol ji was Raag Shuddha Sarang. Shuddha Sarang is a 2nd prahar (9am to 12 noon) raag from Kalyan thaat. He presented a Bandish of Bade Gulam Ali Khan ‘Beg daraswa dewo saja wa ’ in Teen taal.

On the farmaish of the audience he then presented Raag Jaunpuri. Jaunpuri is a 2nd prahar (9am to 12 noon) raag from Asawari thaat. He presented bandish “Prabhu mohe bharosa” in Teen taal followed by “Payal bajan lagi re” of Bade Gulam Ali Khan. Amol ji honestly informed that this was the first time he was singing Raag Jaunpuri in a mahfil.

Next presentation was a Kabir Bhajan of his Guru Anoop Jalota “Zini re zini”. In this Bhajan he sung one line in various raags. It was a medley of Raag.  Audience loved it. It was a fantastic idea of introducing raags and showing their differences to the audience. Predictably and aptly, medley ended with Bhairavi.

He then presented a Marathi Gazal written by Vaibhav Joshi “Sukhat ahes aikato”. A slow, delicate one.

Concert ended with famous Bhajan sung by Pt. Bhimsen Joshi and Lata Mangeshkar, composed by Srinivas Khale “Baje muraliyan baje”.

Singer was quick to establish rapport with the musicians. As a result their confluence became enjoyable. Amol ji even appreciated the accompanists who form a base for his musical sorties.

Amol ji has a mellifluous voice that has the smell of earth. He covers the entire range effortlessly and sings boldly.

Bhushan on Tabla and Amit on Harmonium complemented the singer very well. They are well known in Abu Dhabi musical circle.

It was a small but knowledgeable audience who applauded the performers at all the right places. Such audience gives real pleasure to the performer.

As confirmed by the organizers, concert started on time. Credit to the organizers and audience considering it was a Sunday morning.

All in all, a satisfactory experience.

Swaralaya: Symphony on strings by Rahul Sharma

​Attended a Indian classical music concert titled “Swaralaya: Symphony on strings” by Rahul Sharma (Santoor). He was accompanied by Mukundraj Deo on Tabla, Avinash Chandrachud on Keyboard, Barkha Sharma on Tanpura. This concert was organized at Emirates International School auditorium, Dubai, on 7th May 2023. I attended with Jayant.

This concert was a tribute to the great Late Pandit Shiv Kumar Sharma, Guru and father of Rahul Sharma.

Concert started with Aalap, Jod, Jhala in Raag Rageshwari. This set the tone of the concert. It was followed by two compositions. First in Rupak taal and then a fast one. The section ended with Chakradhar. This section only had Tabla and Tanpura for accompaniment. 

For the second section Avinash joined on Keyboard. Rahul presented Pahadi dhun in light classical. This dhun reminded audience of natural beauty back home and freshened up the mood. He played first in madhya lay and then in drut lay. Avinash mainly played chords. Then Rahul played second dhun. It’s the one on which film song Dholna is based. 

Third section of the concert was Jazz. This was my first time to enjoy Santoor jazz live. The absence of drummer was compensated by Tabla and Keyboard compensated for saxophone. Avinash did very well in this section. I liked this section very much and so did the audience. It was a novelty. Would like to listen to more of it. 

Concert concluded with tribute to Shiv ji with famous Shiv-Hari song ‘Ye kahan aa gaye hum (ये कहॅां आ गए हम)’ from movie Silsila.

It was neatly organized concert with classical, light classical, jazz and film music. There was variety. Technically they played very well. No complaints. But somehow I felt that the soul was missing from the concert. Was it so or it was only I who thought so?

Rahul is a very good Santoor player. He is carrying forward the legacy of his father ably. He doesn’t hesitate to experiment with Santoor. Mukund Raj Deo hails from Banaras and Ajrada gharana and is a well known name in Indian classical music. Avinash Chandrachud has composed background score and music for several films with Vishwajit Joshi. They have also composed the wedding song for latest Hollywood movie Murder Mystery 2. Barkha is Rahul’s wife. She’s a fashion designer, author and classical dancer in addition to being a Tanpura player. 

Since this concert was a tribute to Shiv ji, I was expecting that Rahul will share some anecdotes and memories of his father. That was not to be. His tribute to his father was purely musical. It would have been appreciated either way. 

It is a good auditorium with good acoustics. Concert started half an hour late. 

“Surtaal 3” by Kaushiki Chakraborty, Bickram Ghosh and Rajesh Vaidya

Attended a Indian classical fusion concert titled “Surtaal 3” by Kaushiki Chakraborty (Vocal), Bickram Ghosh (Tabla) and Rajesh Vaidya (Veena). They were supported by Anay Gadgil on keyboard, Arunkumar on drums, Debopriya Chatterjee on flute. This concert was organized at Emirates International School auditorium, Dubai, on 4th March 2023. I attended with Aditi, Sucheeta and Jayant.

Concert started with Saraswati Vandana ‘Aao sajao mandir aaj (आओ सजाओ मंदिर आज)’, a Bandish in Rag Bageshree in Teen taal composed by her father, Pt. Ajay Chakraborty. Everyone excelled. Audience applauded multiple times to the sawal-jawab of all six artists. This start raised the bar for what was to come. While this was going on the curtain started to close. An apparent malfunction! It was a hilarious moment. But rather than getting annoyed Kaushiki and Bickram took it gamely and cracked a couple of jokes about it. A sign of great artists!

Next piece was led by Rajesh. It was a composition of Bickram Ghosh from album Rhythm Scapes. This rhythm riot transposed into ‘Baat chalat nayi chunari rang dari (बात चलत नई चुनरी रंग डारी)’ in my favorite Raag Bhairavi from 1957 movie Rani Roopmati.

Kaushiki (and all others) then presented two compositions. First was ‘Sajanwa kab aaoge (सजनवा कब आओगे)’ in Raag Mishra Pahadi. It’s a slow delicate composition of Kaushiki’s father. She then changed the mood with ‘Rangi Saree Gulabi chunariya re’ (रंगी सारी गुलाबी चुनरिया रे), a Dadra Originally sung by Shubha Gurtu.

That was interval. 

Second half started with ‘Little Krishna’, a composition from Bickram’s album Rhythm Scapes, loosely set on Raag Kalawati. This was a Tabla and Drums jugalabandi. Arun matched Bickram stroke-by-stroke, beat-by-beat. It was a rhythm riot. This was Arun’s show! No wonder Bickram rates him as India’s best drummer. Bickram played some innovative rhythm using his chest and face in sawal-jawab with drums. As if this was not enough, so they got down to sawal-jawab of bol. Sawal-jawab with audience clapping. Completely crazy!

Although it was not rehearsed, Kaushiki honored Farmaish from organizers by singing ‘Salonasa sanjan hai aur main hun’ (सलोनासा सजन है और मैं हूं). Originally sung by Asha Bhosle. 

Then they played a piece called ‘Gokul’ (गोकुल) from new, yet-to-release, album of Bickram and Rajesh. Everyone, except Kaushiki, contributed. Anay excelled with keyboard and drew applause. He is a talented artist. 

Upon audience’s insistent Farmaish Kaushiki sung ‘Yaad piya ki aye (याद पिया की आए)’, a Thumri of Bade Gulam Ali Khan, founder of her Patiala gharana. Her variations of ‘kuuk’ were awesome!

And then the concert ended. I was expecting a predetermined composition to end the concert but they ended it with a farmaish. It appeared like an abrupt end. 

Kaushiki is confluence of the beauty, the music and the beauty of music. Today she was wearing a Sharara and not a Saree. Bickram Ghosh, who recently received Sangeet Natak Acadami award, is a famous percussionist and is known for his innovative ideas and energy. Rajesh is a very well known name in Carnatic music. His Veena is a joy to watch and listen. Although they have performed with each other, this was the first concert of three together. 

Bickram held the concert together and controlled the pace, accelerating and decelerating as per the intended mood. Kaushiki was the soul of the concert. She has an impressive stage presence. Rajesh’s Veena brought an exotic touch to the fusion, giving that something extra, every time. Debopriya, Anay and Arun had a Herculean task of standing up these three stalwarts and complimenting them. They did admirably well. 

It was a rare occasion where Tabla was at the center and vocalist on the left. Bickram was sitting between Rajesh and Kaushiki. He was blocking line of sight (an essential element) between Rajesh and Kaushiki. He should have been little behind forming an arc rather than line. 

The graphics and focus lights behind the artists gave a mystic touch to the atmosphere but at the same time robbed the audience of clear photo opportunities.

All in all, it was an enjoyable concert. 

Babuji te Ajay-Atul (बाबूजी ते अजय-अतुल)

​Attended a concert titled “Babuji te Ajay-Atul (बाबूजी ते अजय-अतुल)”. Madhuri Karmarkar, Mandar Apte (my namesake, not me), Vidya Karalgikar were the singers. They were supported by Ameya Thakurdesai on Tabla, Zankar Kanade on Keyboard and Prashant Lalit on Keyboard. The concert was conceived and anchored by Mangala Khadilkar. This concert was organized by Maharashtra Mandal Abu Dhabi (MMAD) at Indian Islamic Center, Abu Dhabi, on 23rd Oct 2022. This was the Diwali concert. I attended with Mihika, Dada, Aditi and Sambhaji, Mane, Oka, Patil families.

The title of the concert made the theme abundantly clear. It was going to be a journey of Marathi light music from Sudheer Phadke until the Ajay-Atul.  Concert started with all three singers singing ‘Lakh lakh Chanderi tejachi (लखलख चंदेरी तेजाची)’ from 1940 film ‘Shejari’. Audience lapped it up immediately. It’s a melodious song. 

Real deal started with Babuji’s famous Hindi song ‘Jyoti kalash zhalke (ज्योती कलश झलके)’ in Raag Bhupali, originally sung by Lata Mangeshkar and presented by Madhuri. Vidya then presented ‘Zini zini vaje Veen (झिणी झिणी वाजे वीण)’. Written by Ba. Bha. Borkar, Composed by Shridhar Phadke and sung by Asha Bhosle. Mandar presented a song ‘Jenvha tuzya batanna (जेंव्हा तुझ्या बटांना)’ based on Raag Mishra Khamaj, Written by Mangesh Padgaokar, composed by Srinivas Khale and sung by Suresh Wadkar. Madhuri then presented ‘Kanadau Vitthalu (कानडाऊ विठ्ठलु)’. It’s a virani of Sant Dnyaneshwar, composed by Hridaynath Mangeshkar in Raag Yaman, sung by Asha. Madhuri sung well, especially when she sung the line Kanadau Vitthalu karnataku  with Kanadi drawl. 

There were two back-to-back duets. Music by Babuji, written by GaDiMa and Shanta Shelke respectively. First Mandar and Vidya presented  ‘Navin aj chandrama (नवीन आज चंद्रमा)’ followed by ‘Aj chandane unhat hasle (आज चांदणे उन्हात हसले)’ from movie ‘Kalank Shobha’ by Mandar and Madhuri. Vidya then presented ‘Jithe sagara dharni milte (जिथे सागरा धरणी मिळते)’. Original is Sung by Suman Kalyanpur, composed by Vasant Prabhu from movie ‘Putra vhawa aisa’. Vidya pronounced the ladik जिथ्थे perfectly. 

Second section was a medley of title songs of serials. All composed by one and only Ashok Patkie. It started with the song that started the era of title tracks, title track of Gotya ‘Beej ankure ankure (बीज अंकुरे अंकुरे)’ . This was followed by title tracks of Abhalmaya (आभाळमाया), Wadalwat (वादळवाट), Awaghachi sansar (अवघाची संसार), Pimpalpan (पिंपळपान), Maza hoshile na (माझा होशील ना?) and Tula pahate re (तुला पाहते रे). This is a genre, probably unique in Marathi, and it was given its due credit. 

Vidya presented ‘Firuni Navi janmen mi (फिरुन नवी जन्मेन मी)’. Composed by Babuji in Raag Pilu, written by Sudhir Moghe, sung by Asha. She also presented ‘Sukhache chandne (सुखाचे चांदणे)’. This one was sung on pre-recorded track. This was followed by Mandar’s ‘Kitida navyane tula athawawe (कितिदा नव्याने तुला आठवावे)’. This one was also on pre-recorded track. He is also the composer of the song and has won many awards for it. Audience demanded once more and Mandar obliged with one stanza. Madhuri then presented a Lawni ‘Chum chum payi waje ghungur (छुम छुम पायी वाजे घुंगुर)’

Mandar presented ‘Yeshil yeshil rani (येशील येशील राणी)’. Sung by Arun Date and composed by Yashwant Deo. Madhuri presented ‘Mi Radhika (मी राधिका)’ , composed by Shridhar Phadke and sung by Aarati Anklikar. Madhuri sung it very well with all the harkat. Mandar and Madhuri presented ‘Fite andharache jale (फिटे आंधाराचे जाळे)’ composed by Shridhar Phadke and sung by Sudheer Phadke and Asha. Written by Sudheer Moghe. Raag Mishra Bhairavi. Diwali concert is incomplete without a Diwali song. Here it was. Vidya presented the Diwali song ‘Ali mazya ghari hi Diwali (आली माझ्या घरी ही दिवाळी)’ from movie Ashtavinayak. It is composed by Anil-Arun, written by Madhusudan Kalelkar, sung by Anuradha Paudwal. 

Madhuri presented ‘Sakhyare ghayal mi harini (सख्या रे घायाळ मी हरिणी)’ from movie Samna. Written by Jagdish Khebudkar, Sung by Lata. Music Bhaskar Chandavarkar. Madhuri sung it very well. Request for once more was not granted. Mandar presented ‘Datun kanth yeto (दाटून कंठ येतो)’. Sung by Vasantrao Deshpande, Written by Shanta Shelke. Music Anil-Arun. The song is fantastic and Mandar sung very well. As a result one could see some wet eyes in the audience and overwhelmed with emotions. 

Next section was Lawni medley. Lawni is not Lawni without Dholki. Logistical constraints led to use of Tabla in place of Dholki. But Tabaji put his heart into the dholki piece. He also involved audience and made them clap to his rhythm. Madhuri started with’Kalidar kapuri paan (कळीदार कपुरी पान)’ she modulated her voice to suit Sulochana. Impressive.  It was followed in quick succession by ‘Patang udavit hote (पतंग उडवित होते)’, ‘Chala Jejurila jau (चला जेजुरीला जाऊ)’ & ‘Mala lagli kunachi uchki’ (मला लागली कुणाची उचकी). MMAD audience is known to shake a leg on rhythm. So the audience danced freely during Lawani medley. 

Sandeep Khare, Salil Kulkarni and Awdhoot Gupte collaborated to create ground breaking song ‘Dhipari dhipang (ढिपारी ढिपांग)’. It was presented by Mandar and Vidya. And then there was the finale with Ajay-Atul medley. It started with ‘Malharwari’ (मल्हारवारी), ‘Man udhan waryache’ (मन उधाण वाऱ्याचे), ‘Adhir man’ (अधिर मन), ‘Lallati bhandar (लल्लाटी भंडार)’, &‘Zingat (झिंगाट)’ The last one was played on track, not sung. Mandar tried to sing but couldn’t. 

Audience started the dance from Lawni medley and continued through Dhipari Dhipang and and into Ajay-Atul medley. The dancing members kept increasing. It started with ladies, then gents joined in, then the girls joined in until there was no space to dance and some of them had to stand down. 

Concert ended with ‘Ne majasi ne (ने मजसि ने)’. Immortal poem of Swatantryaveer Savarkar, composed by Hridaynath Mangeshkar. 

Title of the program was ‘Babuji te Ajay-Atul’. So I expected the program to unfold step-by-step, the transformations in Marathi music. It would have been great if the program was like an onion where the anchor peals one layer at a time and the ecstasy of. Music continues unabated. But the format had some entropy. Mind you, it was good, but could have been better. 

Madhuri had some difficulty to attain the very high notes on a couple of occasions. May be the temperature of auditorium! There was some problem with her mic, her words were not clear. However she got her act together quickly and delivered a good performance. Mandar doesn’t have a delicate voice like Arun Date, however he sings the emotional and delicate songs with ease. This gives him a command over wide range of songs. Rather than being a specialist of a genre, he is versatile. Vidya too is a good singer. She had the role of singing non-specialist songs and mostly flew under the radar. She’s definitely has potential. We should see more of her going forward. She appeared a little distracted. Musicians did well. Doing a program with just tabla and two keyboards is not an easy feat. 

Mangala Khadilkar is considered yardstick of anchoring. She has excellent command over Marathi and never used English words in Marathi sentences. She also can quote Marathi, Sanskrit and English quotes off the cuff spontaneously.

Program started half an hour late. Music system was ok. The auditorium was cold, probably by design, with everyone decked in traditional heavy attires and jewelry! Cold might have been the intention, in reality it was chilled. It made audience lethargic and probably a little parsimonious in applause initially. However as the concert progressed the audience warmed up and finally danced. It was a celebration! India Pakistan T20 World Cup match started towards the end of concert. It distracted the cricket loving audience. 

All in all it was a very good concert and audience left with a feeling of satisfaction and contentment. MMAD committee 2022-23 deserves credit for organizing a good memorable Diwali concert. 

Rahul Deshpande (राहुल देशपांडे)

​Mandar's concert report

Attended a concert of Rahul Deshpande (राहुल देशपांडे). Rahul Deshpande was the sole singer of the concert. Musicians were Nikhil Pathak on Tabla, Milind Kulkarni on Harmonium, Swapnil Pandit on side rhythm, Amrita Thakurdesai on keyboard, Rohan Wange on Octopad. This concert was organized by Megh Malhar and Rova consulting services at ERTH, Abu Dhabi, on 3rd Sep 2022. I attended with Aditi, Dada and Thangaokar, Oka, Patil families.

Concert started with a composition in Raag Puriya Dhanashree. It was little known bandish ‘Par karo araj suno’ in Madhyalay Jhaptaal. It took some time for the audience to warm up but Rahul sang very well and was ably accompanied. Second peshkash was ‘Bindiya le gayi hamari machhaliya’, a Dadra and a composition of Vasantrao sung by Priyanka Barve. 

He then gave a demo of how folk music is same all over the country by singing various folk songs with same tune. He then transposed the same tune into his song ‘Ram Ram Ram Ram jap kari sada’

Second section of the first half was Marathi songs. He started with a Natyageet from Sangeet Saubhadra ‘Radh dhar madhu milind jaya jaya’ followed by a song of his grandfather ‘Bagalyanchi mal phule’ written by Va. Ra. Kant and composed by Srinivas Khale Last presentation before interval was another natyageet ‘Jay Shankara Gangadhara’ from natak ‘Mandar-Mala’. Tabalji was fractionally late to pick up the beat. 

It was announced that second half was for farmaish. It started with ‘Pratham Tula wandito’ originally sung by Vasantrao and Anuradha Paudwal from movie Ashtavinayak. 

Then he sung Lata Mangeshkar’s ‘Tuj magto mi ata’ Rather than singing it traditionally, he explored this song in unplugged way. He then demonstrated how this song and famous gazal ‘Ranjish hi sahi’ have same tune. Shocking but true. Somehow, idea of bhaktigeet unplugged doesn’t appeal me because although you explore music, feelings (bhav) is lost. He then showed that ‘Malvun tak deep’ a romantic song composed by Hridaynath and sung by Lata Mangeshkar has same tune as that of Gazal ‘Ab ke hum bichade’ by Mehdi Hasan. He underlined that all music is composed with 12 notes and although the notes are same the feelings and emotions can be very different. Then he sung ‘Adh-e-gham mein’ a Ghalib again by Lata composed by K. Mahaveer.  

He then moved back to popular songs with ‘Ghei chand makarand’ from ‘Katyar kaljat ghusli’. It was followed by another song from Katyar kaljat ghusli, the movie. ‘Dil ki tapish hai’ based on raag Kirwani. Milind played harmonium beautifully in this song. The gymnastics that his fingers did in this one song was more than what he did in rest of the concert. Wow!

Rahul concluded the concert with peaceful rendition of a Nirguni Bhajan ‘Guruji main to ek niranjan’ by Pt. Kumar Gandharva. I wonder how many of these songs were part of farmaish?

Rahul is an accomplished singer and whatever he sings is good. So as far as the quality of singing is concerned he gets full marks. The musicians were good and complemented the songs. Special mention of Milind, the harmonium player. 

Now let’s talk about the content. I believe that the content of the concert wasn’t designed properly. There was no content manager or content designer. It was all decided by Rahul. Rahul is an artist. Artists go where their heart takes them. They are driven by the art and passion but the audience isn’t driven by the same traits. Audience comes to the concert with certain expectations. They look for popular songs, the songs which they can relate to, which they can connect with. A successful concert is the one that is enjoyed by the performer and the audience alike. Hence the concert should be designed with the tastes of both in mind. First half was more to the liking of Rahul, so it was expected that second half will be to the liking of audience. Audience craved for popular songs like ‘surat piya ki’ or ‘Ravi mi’ or ‘vithai vithai’  or popular nirguni bhajans like ‘Sunta hai guru gyani’ or ‘Avadhuta’ or ‘savare aijaiyo’. They weren’t in the concert. Also the theme of same tune different songs was repeated in both halves. 

Rahul was wearing black dress. Also the background was black. So he kind of merged in the background. A little color coordination was in order. 

Audience left with mixed feelings. He sung very well but something was amiss. Ye dil mange more!

For more concert reports please visit

Mandar's Concert Reports 

http://mandarconcertreports.blogspot.com/

Dazzling Maharashtra (डॅझलिंग महाराष्ट्र)

Dazzling Maharashtra (डॅझलिंग महाराष्ट्र)

Attended a concert titled Dazzling Maharashtra (डॅझलिंग महाराष्ट्र). Singers were Chaitanya Kulkarni, Sharayu Date, Juili Joglekar, Anandi Joshi, Adarsh Shinde & Rahul Deshpande. Musicians were Nilesh Parab, Prasad Padhye, Krishna Misal, Vijay Jadhav on rhythm. Satyajit Prabhu, Mangesh Bhadkamkar on keyboard. Manish Kulkarni, Kishore on guitar. Other instruments Datta Tawde, Bharat, Nagesh. Mangesh was also the music arranger. The program was conceptualized by music director Rahul Ranade. Anchors of this program were Sachin Khedekar and Mrunmayi Deshpande. This concert was organized by Government of Maharashtra and GMBF at Grand Hyatt, Dubai, on 19th Nov 2021. I attended with Aditi, Dada and Kamble, Patil, Thangaokar families.

This concert was arranged on the occasion of Expo 2020 as a celebration of Marathi art, culture and cinema. It was attended by Maharashtra ministers Subhash Desai, Amit Deshmukh and Aditi Tatkare. So, there were multiple breaks for speeches of politicians and officials during the concert. 

Concert started with 'Deva Shri Ganesha (देवा श्री गणेशा)' sung by Chaitanya. Then Sachin Khedekar recited Mudra of Shivaji Maharaj but conveniently omitted "Go brahman pratipalak". Sad!

The sequence of songs started with Marathi film industry and Prabhat and V. Shantaram's Rajkamal. Sharayu Date presented 'Latpat latpat (लटपटत लटपट)'. Chaitanya Kulkarni then presented 'Sanga Mukund Kuni (सांगा मुकुंद कुणी)' from movie Amar Bhupali and followed it without a pause with 'Are ja re hat natkhat (अरे जारे हट नटखट)' with Sharayu. Juili Joglekar sang 'Lagli kunachi uchki (लागली कुणाची उचकी)'. Sharayu and Chaitanya presented 'Shola jo bhadke (शोला जो भडके)' and 'Ina Mina Dika ( ईना मीना डीका)' back-to-back.

Chaitanya presented 'Shoor amhi Sardar (शूर आम्ही सरदार)' composed by Anandghan a.k.a. Lata Mangeshkar from movie Maratha tituka melwawa. What started with Dholki jugalbandi by Krishna and Nilesh, and a very good one at that, transformed invariably into kadak Lawani 'Resmachya reghani (रेसमाच्या रेघांनी)' by Anandi. This Lawani lacked thaska (ठसका) and appeared soljwal (सोज्वळ). Audience demanded once more for Dholki jugalbandi and got it.

Adarsh and Anandi presented 'Malyachya malyamandi (माळ्याच्या मळ्यामंदी)' and 'Hil Pori Hila (हिल पोरी हिला)' back-to-back commemorating Dada Kondke. Rahul Ranade and Juili paid homage to RD Burman with 'Piya tu ab to aaja (पिया तू अब तो आजा)' and 'Duniya mein logonko (दुनिया में लोगोंको)'. Juili was very good and Rahul only had to sing in strange voice of RD. That was interval. 

Post interval concert started with Rahul Deshpande. He presented 'Ravi mi (रवी मी)'  from Sangeet Manapman (मानापमान) followed by 'Dil ki tapish (दिल की तपिश)', probably least famous song of movie Katyar kaljat ghusli. He then capitalized his popularity of internet by presenting unplugged 'Woh sham kuch ajeeb (वो शाम कुछ अजीब)' and 'Jhuki hui nigah mein (झुकी हुई निगाह में)'. That was the start and end of Rahul Deshpande. More like a guest appearance. 

Commemorating Mangeshkar's, singers presented nonstop 'Kata laga (कांटा लगा)' by Anandi, 'Mungla (मुंगळा)' by Sharayu and 'Ai mera dil (ऐ मेरा दिल)' by Juili. Then Anandi presented 'Jambhul piklya (जांभुळ पिकल्या)'. Then Adarsh presented 3 lokgeete nonstop 'Khandobarayache (खंडोबारायाचं)', 'Doke firlaya (डोकं फिरलया)', 'Awaj wadhaw DJ (आवाज वाढव डीजे)'.

Two songs from Natarang were sung by Anandi and performed by Sonalee Kulkarni (now settled in Dubai). They were 'Apsara aali (अप्सरा आली)'. She danced without ghongroo. Her movements were fast and graceful. In fact, her dance on stage was better than in movie. This was followed by 'Wajle ki bara (वाजले की बारा)', sung by Sharayu and performed by Sonalee. Two continuous dances took their toll and she slowed a little bit and the second dance was a little easy.

Last two songs of the concert were by Chaitanya. First 'Zingat (झिंगाट)' where he went in audience while they were dancing without inhibitions. Audience loved the dhamaal so much that once more was inevitable. Concert ended with 'Mauli (माऊली)' again by Chaitanya.

Sharayu has a sweet voice. When Chaitanya sang Marathi songs his voice was on the forefront and music in background. But when he sang Hindi songs, his voice fell short and words were not clear. Nothing wrong with sur and taal. He carried bulk of the workload. Decked in Blue kurta a and ble dhoti, an unusual combination that suited him. Juili and Anandi were good. I was expecting more from Adarsh. Rahul was the guest artist. Saw him singing, while standing, for the first time. 

Chorus was very good. I should make a special mention of them. There are some songs that sound good only if the chorus is good. This chorus was up to the mark.

Many of the musicians were known faces from TV shows (as were the singers) and all of them were good. TV shows have given recognition to the otherwise faceless musicians. 

It was a good concert. Enjoyable. A fresh breeze after the Covid gloom.

Deeparang (दीपरंग)

Attended a concert titled Deeparang (दीपरंग). Singers were Aniruddha Joshi and Rasika Joshi. They sang on pre-recorded tracks. This was a concert organized by Maharashtra Mandal Abu Dhabi (MMAD) at India Social and Cultural Center (ISC), Abu Dhabi, on 5th Nov 2021. I attended with Mihika, Aditi, Dada and Mane, Patil, Thangaokar, Oka families.

Concert started with vitthal nam. It was 'Abeer gulal (अबीर गुलाल)'. Aniruddha added his own variations while singing. It was followed by 'Maze maher pandhari (माझे माहेर पंढरी)' of Pt. Bhimsen Joshi. Aniruddha sang it in faster tempo compared to original. Rasika presented famous song composed by Lata Mangeshkar 'Airanichya deva tula (ऐरणीच्या देवा तुला)' from movie Sadhi Manse. It was followed by one of the most oversung song 'Mendichya panawar (मेंदीच्या पानावर)'. She went out of tune once in this song. Aniruddha then presented 'Khel mandal (खेळ मांडला)' from movie Natrang. Anuruddha drew applause the moment he began. Ajay Gogawle (of Ajay-Atul) had received best playback singer for this song in 2010. It was courageous to select this song, but Aniruddha did well and audience demanded once more although he didn't accede. 

They suddenly switched genre to Hindi. He first presented Sonu Nigam's  'Abhi muzmein kahi baki thodisi (अभी मुझमें कहीं बाकी थोडीसी)' from film Agneepath, composed by Ajay-Atul. It's a difficult song that he sung well. This time he agreed for once more but rather than playing track he asked audience to clap and provide rhythm. Rasika then presented Monali Thakur's 'Sawar lun sawar lun (सवार लूॅ सवार लूॅ)', composed by Amit Trivedi. She then jumped to Geeta Dutt's vintage 'Ae dil muse baat de (ऐ दिल मुझे बता दे). 

Aniruddha then sung the career defining song of Swapnil Bandodkar 'Radha hi bawari (राधा ही बावरी)'. Audience sang the mukhda of this song impromptu. Rasika and Aniruddha  then presented title tracks of Marathi TV serial 'Phulala sugandh maticha (फुलाला सुगंध मातीचा) and 'Online shubhamangal (ऑनलाईन शुभमंगल)'. They are the original singers of these tracks. Aniruddha then sang modern soofi song  'Mitwa (मितवा)' from film Kabhi alwida na kehna  originally sung by Pakistani singer Shafaqat Amanat Ali. Rasika presented 'Ruperi walut (रुपेरी वाळूत)' originally sung by Asha Bhosle and composed by her son Hemant Bhosle. It was followed by Lawni 'Reshmachya reghani (रेशमाच्या रेघांनी)' sung by Asha Bhosle and composed by Lata Mangeshkar. Ladies from the audience danced on this song. They presented a dhamaal duet 'Ashwini ye na (अश्विनी ये ना)' from film Gammat Jammat. Shantaram Nandgaokar had penned this special song without ळ and च, so that non-Marathi Kishore Kumar can sing it. Aniruddha yoddled well in this song. 

Sandeep Khare's Ganesh stawan in Kawwali, 'He lambodar gajmukh (हे लंबोदर गजमुख)' composed by Awdhut Gupte and sung by Farid Sabri was presented next. Towards the end of concert there was dhamal dance masti with a 15 minute medley of all kind of rhythmic songs. Audience enjoyed shaking a leg. 

Penultimate song was 'Deepawali manayi suhani (दीपावली मनाई सुहानी) because the concert was organized to celebrate Diwali. Grand finale was 'Mauli mauli (माऊली माऊली)' from film Lai Bhari sung by Ajay Gogavale.

Singers were good, song selection was good, however organization was lacking. The songs were not sequenced with any theme like time period, type, language, subject, mood etc.. They jumped from one kind to another as follows. Abhang - Old film song - new film song - new hindi songs- marathi song - marathi serial title tracks - modern soofi - again marathi romantic - kawwali - Diwali - Abhang. It appeared as if they were drawing chits and singing the song written on the chit. The thought process, theme, flow was lacking. Had this been properly thought and planned concert would have become even better.

All in all the singers (Aniruddha and Rasika) were well prepared. The music track did not have a glitch (Atul and Karim). The background visuals (Prachi) were pleasing. The two anchors (Akshay & Shreya) did their assigned job well and the script (Prashant) was well written and provided some unknown insights. If the anchors had recited Pu. La. Deshpande's 'Sanskruti mhanje kay', rather than reading, it would have been more impactful. 

Aniruddha interspersed his singing with small anecdotes about famous personalities. He also involved audience while singing and made the program interactive. He won hearts of audience. 

This program was special because it was a program after almost two years due to Covid. Members met after a long time so they took time socializing (while maintaining social distancing) causing inevitable delay of half an hour, but it was worth it.  

Aniruddha is winner of SaReGaMaPa and Sur nava dhyas nava. Rasika is also winner of multiple awards. 

A good concert. 

Disclosure: I am current trustee of MMAD.