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মনে হল সাক্ষাৎ মা সরস্বতী আমার সামনে বসে আমাকে শিবস্তুতি শোনাচ্ছেন। প্রণাম নেবেন মাতা 🙏🙏

Excellent. Melodious. शुभकामनाएँ.

Melodious. Excellent. शुभकामनाएँ.

Cosmic ❤

जय श्री🙏

Excellent om namashiya

Superb !

Om Uma Shankar Namaha...

Neti- Neti...... Om namah Shivaya

No more words 🙏🙏🙏

Love ❤️ 🎉🙏

A lifetime is not enough to understand this beautiful culture ❤❤❤❤

Excellent...❤❤

Wowww.what a refined nd blessed voice!!!👌👌👌👌

Millions of salute to you ma'am. You are blessed with a pure soul touching voice....its so soothing....i am just speechless 😶😶😮😮😮....hats off to you.... Maa sharda bless you ❤🙏

❤❤ far beyond words !

❤❤❤❤

എന്തൊരു ഫീലാണ് ലയിച്ച് ഇരുന്ന് പോയി❤❤❤❤❤

Ah what a perfect opening of Darbari…. Pure unadultrated music …She taking is only help of Tanpura, how original. ….beautiful

🙏🙏

🎧 Jai Shiv Shambhu From Bengal

Great performance, divine experience 🎉

🙏❤शिवशक्ति ❤🙏

Great.

🙏🏼🙏🏼🙏🏼. ❤❤❤ ಹೃತ್ಪೂರ್ವಕ ವಂದನೆಗಳು.

Brindavanasaranga This is another hot topic for discussion amongst the experts. I read somewhere that there are as many as two arohanam/avarohanam for this ragam Brindhavani and its sister ragam Brindhavana Saranga has 4 types of notes and there is yet another Brindhavanasaranga which is derived from another melakartha ragam! I make an assumption that Brindhavani and Brindhavana Saranga are very closely related ragams derived from the same melakartha, Karaharapriya. The differentiating factor is the presence of the Gandharam in the avarohanam in the latter. Brindāvana Sāranga Aro S R2 M1 P N3 S // AV S N2 P M1 R2 G2 R2 S Brindāvani Aro S R2 M1 P N3 S // S N2 P M1 R2 S Ragapravaham ny Smt D Pattammal puts it under 22 Mela Karahapriya as under S G R M P N S // S N P M R G S S R M P N S // S N P M R M R G S S R M P N S // S N P M R G S S R M P N S // S N P M G S Under 65 Mechakalyani S R M P N S // S N P M R S While Brindhavasaranga is heard often in concerts with number of krithis like Sri Rangapura Vihara, Soundara Rajam Ashraye etc, Brindhavani is rarely heard . All vrindavani and vrindavana saranga versions circulating in CM (Carnatic Music ) seem to be imports from HM.(Hindustani Music) Indeed this issue creates considerable confusion. 2. The HM brindavani sarang has no gandhara, this is an addition in CM 3. The CM "vrindavana saranga" has three different versions: - Dikshitar's version (referred to as either "vrindavana saranga" or "vrindavani" in literature) has only N2, no N3. Some of his compositions also have shades of other related HM ragas. In HM, the counterpart of Dikshitar's version is "madhmad sarang" (SRMPN2S-SN2PMRS), not "brindavani sarang" (which also has N3). - Tyagaraja's version, which has gandhara (G2) as in the composition "kamalaptakula". This G2 seems a CM modification/insertion. Also this version (as far as I have heard it) has no N3 either. - The third version is the the one that identical to the HM "brindavani sarang" (SRMPN3S-SN2PMRS). This one is the most popular on the current CM circuit, there are a number of compositions in this version. In my opinion the musicologists should resolve this confusion and "rename" the ragas as "dikshita saranga", "tyagaraja saranga", and leave "brindavana saranga" for the third type of raga. As far as I can see the first two versions did not exist in CM before Dikshitar and Tyagaraja...if there are previous compositions in these versions they should probably be named after the persons who introduced these ragas in CM. Indeed this issue creates considerable confusion. : All vrindavani and vrindavana saranga versions circulating in CM seem to be imports from HM. 2. The HM brindavani sarang has no gandhara, this is an addition in CM 3. The CM "vrindavana saranga" has three different versions: - Dikshitar's version (referred to as either "vrindavana saranga" or "vrindavani" in literature) has only N2, no N3. Some of his compositions also have shades of other related HM ragas. In HM, the counterpart of Dikshitar's version is "madhmad sarang" (SRMPN2S-SN2PMRS), not "brindavani sarang" (which also has N3). - Tyagaraja's version, which has gandhara (G2) as in the composition "kamalaptakula". This G2 seems a CM modification/insertion. Also this version (as far as I have heard it) has no N3 either. - The third version is the the one that identical to the HM "brindavani sarang" (SRMPN3S-SN2PMRS). This one is the most popular on the current CM circuit, there are a number of compositions in this version. In my opinion the musicologists should resolve this confusion and "rename" the ragas as "dikshita saranga", "tyagaraja saranga", and leave "brindavana saranga" for the third type of raga. As far as I can see the first two versions did not exist in CM before Dikshitar and Tyagaraja...if there are previous compositions in these versions they should probably be named after the persons who introduced these ragas in CM.

P Idu bagya idu bagya idu bagyavayya Padumanabana padabajane sukavayya|| This is good fortune(bAgya), this is good luck(bAgya), repeating the name of padumanAbha is happiness in itself. C1 Kallagi irabeku kathina bavatoreyolage Billagi irabeku ballavarolu Mellane madhavana manadi meccisabeku Bellavagirabeku bandhujanarolage|| One must conduct onself like a rock(kallAgi) while sailing through life, and must be like a bow while in the midst of knowledgeable(ballavaru) persons. One must slowly(mellane) try to impress(meccisabeku) the mind of Madhava(Krishna) and must be like jaggery(bella) among relatives (bandhu jana). C2 Buddhiyali tanumanava tiddikolutirabeku Muddagi irabeku muni yogigalige Madhva matabdhiyali minagi irabeku Suddhanagirabeku karanatrayangalali|| One must correct his body and soul(his behaviour) in his own mind, and must be agreeable (muddagi) to sages and yogis. One must be like a fish(mInagirabeku) in Madhva matabdi(ocean), and must be pure(shuddha) in karana trayas [ note: Karana trayas(3) are thought, word and deed. If all these three are in unison, people achieve greatness. What one thinks, one should say. What one says, one should show in action. Otherwise, the person will be termed a hypocrite and nobody will believe him. May be, initially, some people will respect but later on they too will drop out. This harmony should be attempted and achieved, whatever be ones stage or status in life, whatever be his age] C3 Vishayabogada trunake uriyagi irabeku Nisi hagalu srihariya bajisabeku Vasudheyolu purandaravithalana namava Hasanagi nenenenedu sukiyagabeku|| One must resist material(viSaya) enticements(bhoga), and remember shri hari day and night; And one must serve / associate with (sEvisalu) good dasas of vasudeva purandaravithala.

This is Sung in Brindavana Saranga, Khamboji Ragams etc This Krithi is on Lord Hari (Narayana)

Absolutely Divine Blissful & Superb Rendition All the Best Wishes 👋👌👋

Ponnukkuttee gembeeram

The rendition was powerful and penetrated through the soul to keep the mind, body and soul inline to seek the blessings of lord shiva. May God bless you with continued mesmerizing soulful voice in the years to come to be listened by mankind.

Want this kind of Sangeeta not westernized version of our culture.. how much people destroy in order to make money

Excellent song, All the best wishes.....

....................❤❤❤😊😊😊............. No words to explain this song

ಹ್ರದಯತುಂಬಿಬಂತಮ್ಮ ಧನ್ಯವಾದಗಳು.

ಅಕ್ಷರ ಅಕ್ಷರಗಳೂ ಅರ್ಥ,ಭಾವಭರಿತವಾಗಿವೆ ತಾಯಿ.

Liked this vilambit only Darbari !

Amazing mam❤

Melodious rendition, Madam. Well done 🎉

You really sing this song very beautifully

Beautiful rendition with excellent kalpanaswaram❤

The first note you hit, It was like a ray of light illuminating everything!! Namskar to you 🙏🙏🙏

Excellent 👍👍👍

Next level

Favourite ❤

Beautiful voice🙏

Beautiful voice

Nice unplugged🧡

Without accomanying taal itself is so beautiful & divine. How about with accomanying taal. Devotionally carrying the attention of the listener. Thanks for sharing

Wow great Thanmey akka