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Madras Lalitangi Vasanthakumari (popularly referred to as MLV) (3 July 1928 – 31 October 1990) was a Carnatic musician and playback singer for film songs in many Indian languages. MLV and her contemporaries D. K. Pattammal and M. S. Subbulakshmi are popularly referred to as the female trinity of Carnatic Music.[1] A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era, and was the youngest female awardee of the Sangita Kalanidhi award.[2] In 1967 she was honored with the Padma Bhushan, the third highest civilian award by the government of India. Her daughter, the late K.Srividya, was an actress in Tamil and Malayalam languages.
 | This article needs additional citations for verification. (October 2010) |
Madras Lalithangi Vasanthakumari | |
|---|---|
 MLV in late 1940s | |
| Background information | |
| Born | 3 July 1928 Madras, Madras Presidency, British India |
| Died | 31 October 1990 (aged 62) Chennai, Tamil Nadu, India |
| Genres | Carnatic music – Indian Classical Music and Playback singing |
| Occupation(s) | Singer |
| Years active | 1942 – 1990 |
| Labels | HMV, EMI, RPG, AVM Audio, Inreco, Vani, Amutham Inc, Doordarshan, Super Audio, Geethanjali, Kosmic Music, Charsur Digital Workshop etc. |
As well as being a much sought-after playback singer for films, MLV popularized unfamiliar ragas and her Ragam Thanam Pallavis were considered cerebral.[3] Additionally, she popularized the compositions of the Haridasas. Her most famous disciples include Srividya (her daughter), Sudha Raghunathan, Charumathi Ramachandran, A. Kanyakumari, Yogam Santhanam, V. Kaveri, Rose Muralikrishnan, Meena Subramanian and Yamuna Arumugam.[4]
Early life
MLV was born to a musical family. Her father, Kuthanur Ayya Swamy Iyer, was a noted musician while her mother, Lalithangi, was also a musician.[5] When Deshbandhu Chittaranjan Das (1870–1925) died in 1925, Lalithangi came out with a song as a tribute to his patriotism. A rare gramophone record (made in England) of her rendition of this song is said to be in V. Sundaram's possession.[citation needed]
MLV's school education was in Madras, in a convent, where she was set to pursue a medical career until Carnatic musician G. N. Balasubramaniam became her guru. In her own words, "My parents had rendered yeomen service to Carnatic music. They were mainly instrumental in popularising the compositions of Purandara Dasa in South India. They were not keen that I should enter the music field and gave me general education. But in the musical atmosphere of my house, I had ample opportunity of practising vocal music. Once G. N. Balasubramaniam heard me sing and he prevailed upon my parents to place me under his tutelage. It was he who was responsible for the status I occupy in the music world today."[citation needed]
Learning Carnatic music
MLV had the privilege of learning Carnatic music from G. N. Balasubramaniam (GNB). She was also GNB's first disciple. Indira Menon said that, "GNB was a self-taught artiste, his racy style sparkling with brigas and nuances never heard before, revealed a new range of colours on the musician's palette. The brisk tempo unleashed by his powerful and pliable voice found many admirers and imitators among the younger generations, though it raised many an eyebrow among the senior vidwans. Was his music according to Sampradaya (tradition) or not, was the question that was frequently asked?' To answer, GNB was a genius, so much so that what might have seemed like a deviation from tradition was acceptable from him though it might not have been so from a lesser artiste. His personality, bold innovations and technical virtuosity became an inspiration for an entire generation of musicians. After GNB, speed and briga-laden music became the vogue to the extent that to be true to one's self and to sing according to one's vocal capacity required a great deal of courage."[citation needed]
Performing and recording career
 | This article contains wording that promotes the subject in a subjective manner without imparting real information. (January 2016) |
In 1940, M. L. Vasanthakumaari (MLV)'s mother, Lalithaangi, gave a recital in Shimla and it was then that, by accompanying her mother, MLV, then 12 years old, made her debut. Two years later, MLV gave a solo recital in Bengaluru. She also cut her first 78 rpm disc. From then on, her career took on a geometric progression, as a stage artiste, and by 1950 she had established herself as a front-ranker. A music critic said that MLV brought the struggle of women in the world of music to a successful culmination. Her music was said to have more male characteristics than that of any other female musician.[citation needed]
Her own musical style
MLV imbibed much of GNB's style, but did not make a fetish of speed and struck out on her own, evolving an inimitable style of her own.[6]
While MLV was known more for her cerebral style, rather than her emotional one, this was compensated for by her rich and original manodharma. Similar to GNB, she was said to be a genius in her tricky, instantaneous brilliant manodharma. Indira Menon comments MLV did adopt her Guru's idea of a quick impressionistic sketch of the raga covering the two octaves at the start, but settled down to a reposeful elaboration, unfolding it gradually with her virtuosity in the form of BRIGA - CASCADES appearing only where necessary. She was careful not to carry to an excess what her versatile voice was capable of.
MLV's mastery over vocal techniques was comprehensive and complete. She could render several difficult ragas, with her alapana and kalpana swaras, suitably embellished with shruthi-bheda. Her listeners had the same ecstatic experience when she sang and more particularly when in a lightning manner she shifted gracefully from the melodic world of one raga in one pitch to another raga in another pitch. In this context, one has to refer to raga combinations like Shanmukhapriya-Sankarabharanam, Bhairavi-Kamas, Abhogi-Valaji to illustrate this point.
In GNB's own words,"Vasanthi typifies real discipleship – she absorbs all, but presents her own glorious creations."[7]
Purandaradasa Tradition
Lalithangi, MLV's mother, had a vast repertoire of Purandaradasa kritis. She passed on this tradition to her daughter, MLV. As a result, like T. Brinda who brought Kshetrayya Padams to the public platform and M. S. Subbalakshmi who brought Annamacharya kritis to the public arena, MLV popularized the Devaranamas of Purandaradasa.
Sindhubhairavi
She popularized the composition 'Kalyana Gopalam', composed by Narayana Teertha, in raga Sindhubhairavi. She also popularized the composition, 'Venkatachala Nilayam' by Purandaradasa in the same raga. Hindustani maestro Bade Ghulam Ali Khan was generous in his praise for her music. Sudha Ragunathan mentions, "MLV Amma has told me that it was Bade Ghulam Ali Khan Saab who taught her the nuances of Sindhu Bhairavi in the Hindustani style."[3]
Ragam Thanam Pallavi
MLV's forte was Ragam Tanam Pallavi, where she not only maintained the tradition brought to the stage by D. K. Pattammal, but enriched it in her own unique way. A. Kanyakumari who had accompanied MLV on violin for almost two decades says, "MLV akka had a sharp mind and good memory and I have never seen her practice a song or a ragam or for that matter a ragam-tanam-pallavi also before a concert." Sudha Ragunathan, a prime disciple of MLV, remarked that "In all my twelve years of learning under her, I had never seen Amma practicing at home. But, to my great surprise, she would compose a Pallavi in the car on the way to the concert!"[3]
Playback Singing
By 1946, MLV was also a playback singer.[3] Her first big hit was in the 1951 film Manamagal, where she sang the song Ellam Inbamayam in Ragamalika, and Subramania Bharathiyar's evergreen composition, Chinnanchiru Kiliyae. In the 1960 film Raja Desingu, MLV also sang another Ragamalika, Parkadal Alaimele, which was well received, and later became popular in Bharatha Natyam recitals. In later years, MLV would also sing these songs towards the end of her Carnatic music concerts, and today, many musicians often include them in their repertoire.[8]
MLV also sang Ayya Saami in the 1951 film, Or Iravu. This song was based on the song Gore Gore from the film Samaadhi, which was in turn based on the Latin American song Chico Chico from Puerto Rico, from the film Cuban Pete. In the 1952 film Thayullam, MLV sang Konjum Purave which was based on the famous Hindi song, Thandi Havayen.[8]
Other songs MLV sang include Adisayam Vanathu Arivumayam, Senthamarai Kannanae, Vanna Tamizh and Adum Arul Jothi in the films Vikramadithian, Vairamalai and Sornakili. Incidentally, each of these songs contained the raga Kalyani and were also well received.[8]
MLV sang the Dashaavataara song for Bhookailas like Munneeta Pavalinchu Naagashayana, while Kamala Kumari danced in a classical way.[9] She sang for films until 1970.[citation needed]
Personality
As one of the top ranking stage artistes, MLV was noted for her charm, grace, warmth, self-restraint and humility. Her self-restraint as an artist can be understood from her own words: Brigas in fast tempo should adhere to the shruthi and above all, true music must touch the listener's heart. MLV however maintained a philosophy: A concert is a daily test of the caliber of a musician. A slight lapse may let the musician down and a constant vigil is essential.[citation needed]
Accompanists
Mridangam maestro Palghat Mani Iyer made an exception to the decision he had made early in his career not to accompany a female performer and accompanied her in concerts. MLV helped her ot istrstis including Mannargudi Easwaran, Srimushnam V. Raja Rao, Seerkazhi J. Skandaprasad, Thiruvarur Bakthavathsalam, R. Ramesh, Karaikudi Krishnamurthy, G. Harishankar (kanjira), Dwaram Mangathayaru (Violin) And Kannyakumari (Violin) and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.[citation needed]
Family
MLV married Kalaimamani Vikatam R.Krishnamurthy in the year 1951. They had a son, K. Shankarraman and Srividya.[citation needed]
Disciples
MLV taught her daughter K.Srividya, who at the age of ten was ready to perform and sang very much like MLV. Srividya however, wanted to pursue a career in the film industry, and went on to become a notable actress in Indian films.
By coincidence, Srividhya made her Acting Debut in a Tamil Movie as a Concert Vocalist. It was her Mother MLV who sang for Srividhya.The Asaveri Raga Krithi MLV sang for Daughter Srividhya to mouth in the film, and it would have been equally in place in a Concert in December Season
MLV trained several other students, and many of them are the top-ranking musicians today. Some of the notable musicians who have studied under MLV include Sudha Ragunathan, Yogam Santhanam, Charumathi Ramachandran, Rose Muralikrishnan, V. Kaveri, Vanaja Narayanan, T. M. Prabhavathi, Sankari Krishnan, Meena Subramaniam, Jayanthi Sridharan, Jayanthi Mohan, Bama Visveswaran and Nirmala Srinivasan . She also taught music at Rishi Valley School started by Jiddu Krishnamurti and Yamuna Aarumugam who was a Malaysian government scholar went under the 'Gurukulavasam' system to her for two entire years.
Saraswathi Srinivasan (b 1936) was the first disciple of MLV. After marriage also Saraswathy Srinivasan jointly with MLV gave some concerts.[10]
Awards
| Year | Award | Awarded by |
|---|---|---|
| 1967 | Padma Bhushan | Third highest civilian award by the government of India |
| 1970 | Sangeet Natak Akademi Award | Sangeet Natak Akademi, India |
| 1976 | Doctorate degree for her work with regards to Purandaradasa's contributions to music | Mysore University |
| 1977 | Sangeetha Kalanidhi (Highest accolade in the field of Carnatic music) | Music Academy, Madras |
| 1977 | Isai Perarignar | Tamil Isai Sangam, Madras |
| 1987 | Sangeetha Kalasikhamani | Indian Fine Arts Society, Chennai |
Death
She died in 1990 at the age of 62 due to cancer, and was stoic about the suffering she faced in the last year of her life.[11]
Playback singer
She was a much sought after playback singer from the late 1940s until the mid-1960s.
Music composers she sang for
She worked under C. R. Subburaman, S. M. Subbaiah Naidu, G. Ramanathan, S. Dakshinamurthi, K. V. Mahadevan, Vedha, V. Nagayya, Pendyala Nageshwara Rao, T. Chalapathi Rao, Viswanathan–Ramamoorthy, S. Rajeswara Rao, R. Sudarsanam, R. Govardhanam, T. R. Pappa, S. V. Venkatraman, Kunnakudi Venkatrama Iyer, G. Aswathama, T. A. Kalyanam, M. S. Gnanamani, C. N. Pandurangan, C. S. Jayaraman, G. Govindarajulu Naidu, T. G. Lingappa, K. G. Moorthy, Ghantasala, Master Venu, G. Aswathama, V. Dakshinamoorthy, G. Devarajan, K. Raghavan and Shankar–Jaikishan.
Playback singers she sang with
She sang duets mostly with Thiruchi Loganathan, Seerkazhi Govindarajan and A. M. Rajah. Others are M. K. Thyagaraja Bhagavathar, V. N. Sundaram, T. R. Mahalingam, T. A. Mothi, C. R. Subburaman, C. S. Jayaraman, Ghantasala, G. K. Venkatesh, T. M. Soundararajan, P. B. Sreenivas, K. S. George, V. Dakshinamoorthy and K. J. Yesudas.
She also sang duets with female singers with most notably with P. Leela & N. L. Ganasaraswathi. Others are A. P. Komala, T. S. Bagavathi, Soolamangalam Rajalakshmi, Jikki, T. V. Rathnam, Radha Jayalakshmi, P. A. Periyanayaki, P. Bhanumathi, K. Jamuna Rani and A. G. Rathnamala.
| Year | Film | Language | Song | Music | Co-singer |
|---|---|---|---|---|---|
| 1948 | Krishna Bakthi | Tamil | Raadhaa Samedhaa Krishnaa | S. V. Venkatraman & Kunnakudi Venkatrama Iyer | |
| Endha Vedugo O Raagavaa | |||||
| 1948 | Raja Mukthi | Tamil | Kulakkodi Thazhaikka | C. R. Subburaman | |
| Aaraaro Nee Aaraaro | |||||
| Ingum Angum Engum Inbame | M. K. Thyagaraja Bhagavathar | ||||
| Enna Aanandham | M. K. Thyagaraja Bhagavathar | ||||
| Sandhoshamaai Anbar Varuvaaradi | P. Bhanumathi | ||||
| 1949 | Kanniyin Kaadhali | Tamil | Puvi Raajaa | S. M. Subbaiah Naidu & C. R. Subburaman | Thiruchi Loganathan |
| Kaanbana Yaavum Kaaviyam Pole | |||||
| 1949 | Mayavathi | Tamil | Maane En Prema Raani | G. Ramanathan | T. R. Mahalingam |
| Vaaraai En Inba Vaazhve | |||||
| Aahaa Thanimai Tharum Inbam | |||||
| Alli Malaraayirundhen | |||||
| Varuvano Madhivadhanan | |||||
| Jeyame En Vaazhvile | |||||
| 1949 | Nallathambi | Tamil | Gaanalolan Madhanagopaalan | S. M. Subbaiah Naidu & C. R. Subburaman | |
| 1949 | Nam Naadu | Tamil | Mosam Pogadhe Nee | G. Govindarajulu Naidu & Purushotham | |
| Enthan Mana Ullaasam | |||||
| Enadhu Ennam Veene | |||||
| Vedhanai Ilaa Logam | |||||
| Maname Enna Pedhamai | |||||
| 1949 | Pavalakodi | Tamil | Kandeepan Maithunaa | C. R. Subburaman | |
| Naane Vendinen | |||||
| Ini Nammodellaam | |||||
| Unathu Pugazh Paaduven | |||||
| 1949 | Vazhkai | Tamil | Gopaalanodu Naan Aaduvene | R. Sudarsanam | |
| 1950 | Beedala Patlu | Telugu | Yauvaname Aahaa Yauvaname | S. M. Subbaiah Naidu | |
| Sarasaku Raade Aane | |||||
| 1950 | Ezhai Padum Padu | Tamil | Yauvaname Aahaa Yauvaname | S. M. Subbaiah Naidu | |
| Kannan Mana Nilaiye | |||||
| Vaanamudhe Ondraai | Thiruchi Loganathan & P. A. Periyanayaki | ||||
| 1950 | Manthiri Kumari | Tamil | Isai Kalaiye Inidhaana | G. Ramanathan | |
| Kaadhal Baliyaagi | |||||
| Manam Pola Vaazhvu Peruvome | Jikki | ||||
| Aahaahaahaa Vaazhvile | |||||
| Ennum Pozhuthil Inbam | |||||
| 1950 | Parijatham | Tamil | Niyaayam Alladi Bhaamaa | S. V. Venkatraman & C. R. Subburaman | |
| Piraana Naathanae | |||||
| Anbinil Yaavume.... Thulasi Jegan Maathaa | |||||
| 1950 | Prasanna | Malayalam | Kalaanikethe Keralamaathe | M. S. Gnanamani | |
| Gaanamohana Hare | |||||
| Jaathivairam Neethirahitham | |||||
| Thakarukayo Sakalamen | |||||
| 1950 | Vijayakumari | Tamil | Geethaanandham Perinbam | C. R. Subburaman | P. Leela |
| 1951 | Manamagal | Tamil | Chinnanciru Kiliye Kannammaa | C. R. Subburaman | V. N. Sundaram |
| Ellaam Inbamayam | P. Leela | ||||
| Aayirathu Tholaayirathu | P. Leela | ||||
| Paaviyinum Padu Paavi | V. N. Sundaram | ||||
| Iru Kaadhalar Magizhndhe | C. R. Subburaman | ||||
| 1951 | Mayamalai | Tamil | P. Adinarayana Rao | ||
| 1951 | Navvithe Navaratnalu | Telugu | Marubal Kavadhe Meera | G. Aswathama | |
| Uyyaala Loogena O Manasam | |||||
| Telirekhalu Virise Thurupudisa | |||||
| Saanthiye Ledhaa Naaku | |||||
| Srī Rajarajesvari Sritajanavandita | |||||
| 1951 | Or Iravu | Tamil | Ayyaa Saami Avoji Saami | R. Sudarsanam | |
| Boologam Thanai Kaana Varuveer | T. S. Bagavathi | ||||
| 1951 | Pelli Kooturu | Telugu | Veera Jaajula Valape | C. R. Subburaman | C. R. Subburaman |
| Anta Premamayam | P. Leela | ||||
| 1950 Ki 60 Ki Ento Teda | A. P. Komala | ||||
| Paapula Loka Dupaapi | C. R. Subburaman | ||||
| C. R. Subburaman | |||||
| 1951 | Rajambal | Tamil | Vaazhvu Uyara Vendum | M. S. Gnanamani | |
| Ahaa Haa Manaiviyaaven | |||||
| Theeraadha Thunbam Thaanaa | |||||
| 1951 | Saudamini | Tamil | Anbe En Sivame Aandarulvaaye | S. V. Venkatraman | |
| Maara Sundara Maadhu Ivale | |||||
| 1951 | Soudamini | Telugu | Elukkona Ra | S. V. Venkatraman | |
| 1951 | Tilottama | Telugu | P. Adinarayana Rao | ||
| 1952 | Andhaman Kaidhi | Tamil | Kaani Nilam Vendum Paraasakthi | G. Govindarajulu Naidu | C. S. Jayaraman |
| 1952 | En Thangai | Tamil | Dheena Dhayaabari Thaaye | C. N. Pandurangan | |
| 1952 | Kanchana | Tamil | Maye Thvam Yaahi | S. M. Subbaiah Naidu | |
| Shivakameshwari Chintaye | |||||
| 1952 | Kanchana | Tamil | Maye Thvam Yaahi | S. M. Subbaiah Naidu | |
| Shivakameshwari Chintaye | |||||
| 1952 | Kanjana | Malayalam | Maye Thvam Yaahi | S. M. Subbaiah Naidu | |
| Shivakameshwari Chintaye | |||||
| 1952 | Moondru Pillaigal | Tamil | Antha Raama Sowndharyam | P. S. Anantharaman & M. D. Parthasarathy | A. P. Komala |
| 1952 | Mr. Sampat | Hindi | Manchi Dinamu Nede | B. S. Kalla & Emani Sankara Sastry | |
| 1952 | Mugguru Kodukkulu | Telugu | Aaraaghu Ra Muni | K. G. Moorthy | N. L. Ganasaraswathi |
| 1952 | Panam | Tamil | Ezhai Nin Kovilai | Viswanathan–Ramamoorthy | G. K. Venkatesh |
| Kudumbatthin Vilakku | |||||
| 1952 | Parasakthi | Tamil | Vaazhga Vaazhgave Vaazhgave | R. Sudarsanam | |
| 1952 | Penn Manam | Tamil | Kanavilum Maraven | Kunnakudi Venkatarama Iyer | |
| Vazhvile Vaazhvile | Madhavapeddi Satyam | ||||
| Sugamedhu Vaazhvile | Madhavapeddi Satyam | ||||
| 1952 | Puratchi Veeran | Tamil | Kaaranam Theriyaamal | Shankar–Jaikishan | |
| 1952 | Shyamala | Tamil | Ambaa Aadhi Sakthi Jegadhaambaa | G. Ramanathan, T. V. Raju & S. B. Dinakar Rao | |
| 1952 | Thai Ullam | Tamil | Konjum Puraave | G. Ramanathan | |
| Vellai Thamarai Poovil | |||||
| Kovil Muzhuthum Kanden | |||||
| Kathayai Kelada | |||||
| 1952 | Velaikari Magal | Tamil | Anbe Endhan Aaruyire Azhaadhe | C. R. Subburaman & S. Dakshinamurthi | |
| Mudinthathe En Vazhvu | |||||
| Pagalellam Velai Seithe | K. Devanarayanan | ||||
| 1953 | Aasai Magan | Tamil | Kalaigal Migundha Engal | V. Dakshinamoorthy | P. Leela |
| Neeye Arul Velavane | |||||
| 1953 | Aashadeepam | Malayalam | Janani Jayikka Neenal | V. Dakshinamoorthy | P. Leela |
| Sharanam Mayilvaahanaa | |||||
| 1953 | Ammalakkalu | Telugu | Nee Kosam | C. R. Subburaman | Pithapuram Nageswara Rao |
| 1953 | Anbu | Tamil | Adavare Naattile | T. R. Pappa | A. M. Rajah |
| Isaippaadi | |||||
| 1953 | En Veedu | Tamil | Konjum Mozhi Maindharkale | V. Nagayya & A. Rama Rao | T. A. Mothi |
| Konjum Mozhi Maindharkale | Radha Jayalakshmi | ||||
| 1953 | Gumastha | Tamil | Aiyavin Penndattikku | G. Ramanathan, V. Nagayya & C. N. Pandurangan | K. R. Chellamuthu |
| Dance Baby Dance | |||||
| 1953 | Inspector | Tamil | Varuvaai Mana Mohanaa | G. Ramanathan | V. N. Sundaram |
| Madhana Singaara Neelaa | |||||
| Moodiyirundha En Vizhiyinul | |||||
| 1953 | Inspector | Telugu | Marupayena Mohana | G. Ramanathan | |
| Mara Sukumara | |||||
| Moodapa Dhinana Muddulaveena | |||||
| 1953 | Jatagam | Tamil | Velan Varuvaanodi | R. Govardhanam | |
| 1953 | Kangal | Tamil | Inba Veenaiyai Meettudhu | S. V. Venkatraman | |
| Kann Kanda Deivame | |||||
| Annai Karamena Nammai | |||||
| Varungkaala Thalaivan Neeye | |||||
| 1953 | Kodarikam | Telugu | Illalu Illalu | C. N. Pandurangan | |
| Mahaa Ganapathi Gajaananaa | |||||
| 1953 | Mamiyar | Tamil | Penn Ivale Miga | C. N. Pandurangan | |
| Mahaa Ganapathi Gajaananaa | |||||
| 1953 | Manam Pola Mangalyam | Tamil | Solai Naduve Odi | A. Rama Rao | |
| 1953 | Manidhanum Mirugamum | Tamil | Inbakuyil Kuralinimai | G. Govindarajulu Naidu | A. M. Rajah |
| Imayamalai Chaaralile | |||||
| 1953 | Manithan | Tamil | Kuyile Unakku | G. Ramanathan | |
| 1953 | Marumagal | Tamil | Nianikkira Maaadhiri Ellaam | C. R. Subburaman | T. R. Ramachandran |
| 1953 | Naa Illu | Telugu | Adigadigo Gagana Seema | V. Nagayya & A. Rama Rao | T. A. Mothi |
| Raara Maa Intidaka | |||||
| 1953 | Naalvar | Tamil | Irul Soozhum Vaanil | K. V. Mahadevan | |
| Inbam Kolludhe | |||||
| Vaana Veedhiyil Parandhiduvom | Thiruchi Loganathan | ||||
| 1953 | Naam | Tamil | C. S. Jayaraman | ||
| 1953 | Prapancham | Telugu | M. S. Gnanamani & T. Poornananda | A. M. Rajah | |
| Kalaye Navakalaye | |||||
| 1953 | Ulagam | Tamil | Un Kaadhalaal En Anbellaam | M. S. Gnanamani | A. M. Rajah |
| En Jeevanile | |||||
| 1953 | Vazha Pirandhaval | Tamil | Indhiya Naadu Nam Indhiya Naadu | S. Rajeswara Rao & G. Ramanathan | |
| 1954 | Ammaiyappan | Tamil | T. R. Pappa | ||
| 1954 | Bedara Kannappa | Kannada | Daari Kaadu Naa Balu Nonde | R. Sudarsanam | |
| 1954 | Kanavu | Tamil | Kannaana Thaai Naadae | G. Ramanathan & V. Dakshinamoorthy | |
| Eliyorku Suga Vaazhvu Edhu | |||||
| Engume Thai Pongal | |||||
| 1954 | Kudumbam | Tamil | Pandigai Dhinamithadah | Pendyala Nageswara Rao | |
| 1954 | Menarikam | Telugu | Pendyala Nageswara Rao | ||
| 1954 | Pudhu Yugam | Tamil | Kalaiye Puviyaarai Kavarum | G. Ramanathan | |
| 1954 | Ratha Kanneer | Tamil | Kadhavai Saathadi | C. S. Jayaraman | |
| Aalaiyin Sangge Nee Oothaayo | |||||
| 1954 | Ratha Paasam | Tamil | Nilaiyaana Inbam Manavaalan Anbe | M. K. Athmanathan & A. V. Natarajan | |
| 1954 | Kalahasti Mahatyam | Telugu | Choochi Choochi | R. Sudarsanam | |
| Chaalu Chaalu Naa Mohana | |||||
| 1954 | Thookku Thookki | Tamil | Vaaranam Aayiram Soozha Valam Seidhu | G. Ramanathan | P. Leela |
| 1954 | Thuli Visham | Tamil | Nandraaga Vaazha Vendum | K. N. Dandayudhapani Pillai | |
| 1954 | Vaira Malai | Tamil | Vanjamidho Vaanchaiyidho | Viswanathan–Ramamoorthy | Thiruchi Loganathan |
| Koovaamal Koovum Kogilam | Thiruchi Loganathan | ||||
| Unnai Ennum Podhe | |||||
| Senthamarai Kannane | |||||
| 1955 | Adarsha Sathi | Telugu | Parameshane Shiraverida | R. Sudarsanam & R. Govardhanam | |
| 1955 | Kalvanin Kadhali | Tamil | Tamil Thirunaadu Thannai Petra | G. Govindarajulu Naidu | N. L. Ganasaraswathi |
| 1955 | Kaveri | Tamil | Manjal Veyyil Maalaiyile | G. Ramanathan | C. S. Jayaraman |
| 1955 | Kaveri | Tamil | Manadhinile Naan Konda | Viswanathan–Ramamoorthy | |
| 1955 | Koteeswaran | Tamil | Ennudalum Ullak Kaadhalum Unakke | S. V. Venkatraman | |
| 1955 | Maheswari | Tamil | Andha NaaLum Endha NaaLo | G. Ramanathan | |
| 1955 | Ulagam Palavitham | Tamil | Adimaiyendre Ennathe Penne | N. S. Balakrishnan | |
| 1955 | Valliyin Selvan | Tamil | Kannin Maniye Vaa | Parur S. Anantharaman | |
| Vilaiyaadum Dheivamadi | T. V. Rathnam | ||||
| 1955 | Vijaya Gauri | Telugu | Andala Sandadilo | G. Ramanathan | A. M. Rajah |
| 1954 | Vedan Kannappa | Tamil | Thedi Thedi Naan Manam Nondhen | R. Sudarsanam | |
| 1956 | Amara Deepam | Tamil | Enge Maraindhanayo | T. Chalapathi Rao & G. Ramanathan | |
| 1956 | Chori Chori | Hindi | Theem Theem | Shankar–Jaikishan | |
| 1956 | Kaalam Maari Pochu | Tamil | Ennamadhellaam Neeye Niraindhu | Master Venu | |
| 1956 | Kannin Manigal | Tamil | Nalla Veenai Idhe Mannile | S. V. Venkatraman | |
| Velli Nilavinile | |||||
| Aaraaro Aasai Kanmaniye | |||||
| Anbin Dheepamidhe | |||||
| 1956 | Koodappirappu | Malayalam | Alarsharaparithaapam | K. Raghavan | |
| Manivarnane Innu Njan | |||||
| 1956 | Kula Dheivam | Tamil | Thaaye Yasodha Undhan | R. Sudarsanam | |
| 1956 | Madurai Veeran | Tamil | Aadal Kaaneero | G. Ramanathan | |
| Senthamizhaa Ezhundhu | |||||
| 1956 | Naga Devathai | Tamil | Ghantasala | ||
| 1956 | Nagula Chavithi | Telugu | Marubal Kavadhe Meera | Ghantasala | |
| 1956 | Ondre Kulam | Tamil | Anda Pagiranda Akilandeswari | S. V. Venkatraman & M. V. Ranga Rao | |
| Thiruvarul Purivaai Jaganmaathaa | |||||
| 1956 | Sahasra Veerudu | Telugu | Aatal Kanalero Maa Aatal Kanalero | G. Ramanathan | |
| Andhamula Rashi Neevoyi | |||||
| 1956 | Punniyavathi | Tamil | Kani Voorum Amudhaana Idhayam | V. Dakshinamoorthy | |
| 1956 | Raja Rani | Tamil | Vaanga Vaanga ... Indriravu Miga Nandriravu | T. R. Pappa | S. V. Ponnusamy |
| Manippuraa Pudhu Manippuraa | |||||
| Inba Nan Naalidhe | |||||
| 1956 | Thaaikkuppin Thaaram | Tamil | Naadu Sezhithida NaaLum Uzhaithida | K. V. Mahadevan | |
| 1957 | Bhale Ammayilu | Telugu | Gopaala Jaagela Raa | S. Rajeswara Rao & S. Hanumantha Rao | P. Leela |
| Theem Thaam Thirana (Thillana) | T. V. Rathnam | ||||
| 1957 | Chakravarthi Thirumagal | Tamil | Enthan Ullam Kollai Kolla | G. Ramanathan | |
| 1957 | Iru Sagodharigal | Tamil | Thaaye Un Seyalallavo | S. Rajeswara Rao | P. Leela |
| Theem Thaam Thirana (Thillana) | T. V. Rathnam | ||||
| 1957 | Karpukkarasi | Tamil | Kaniyo Paago Karkando | G. Ramanathan | P. B. Sreenivas |
| Vizhiyodu Vilaiyaadum | P. Leela | ||||
| 1957 | Manamagan Thevai | Tamil | Vanthaal Varattum Podi | G. Ramanathan | |
| 1957 | Maya Bajaar | Tamil | Chellamudan Devarkalum Nallaasi | Ghantasala & S. Rajeswara Rao | |
| 1957 | Mayabazar | Kannada | Srisuraru Thamadhalu | Ghantasala & S. Rajeswara Rao | |
| 1957 | Mayabazar | Telugu | Srikarulu Devathalu | Ghantasala & S. Rajeswara Rao | |
| 1957 | Nala Damayanthi | Telugu | Jaali Chpppavadelara | B. Gopalam | |
| 1957 | Rajaputhri Rahasyamu | Telugu | Sreeramu Meedhane Perasha | G. Ramanathan | |
| 1957 | Rani Lalithangi | Tamil | Kannaale Mannaadhi Mannarum | G. Ramanathan | |
| 1957 | Sati Anasuya | Telugu | Maa Roopa Nava Shobana | Ghantasala | |
| 1957 | Soubhagyavathi | Tamil | Matha Maragadha Shyaamaa | Pendyala Nageswara Rao | |
| 1957 | Soubhagyavathi | Telugu | Matha Maragadha Shyaamaa | Pendyala Nageswara Rao | |
| 1957 | Thalavanchani Veerudu | Telugu | Raa Raa Raa | G. Ramanathan | |
| 1957 | Vanangamudi | Tamil | Siramathil.... Vaa Vaa Vaa | G. Ramanathan | |
| 1957 | Varudu Kavali | Telugu | Nandasuthudu Andam Chandam | G. Ramanathan | |
| 1958 | Baktha Ravana | Tamil | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |
| 1958 | Bhookailas | Telugu | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |
| Munneeta Pavalinchu | |||||
| 1958 | Bhookailas | Kannada | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |
| Ksheeraabdhi Varadhaama Naga Sayana | |||||
| 1958 | Kanniyin Sabatham | Tamil | Attatthil Sirandhadhu Pitthalaattam | T. G. Lingappa | Soolamangalam Rajalakshmi |
| Solla Theriyaamal | |||||
| 1958 | Mangalya Bhagyam | Tamil | Nenjathile Achcham Illaadhavar | G. Ramanathan | P. Leela |
| Anusooya Kadhaakaalatchebam | Seerkazhi Govindarajan, A. P. Komala, K. Jamuna Rani & A. G. Rathnamala | ||||
| Annaiye Paraasakthi | |||||
| 1958 | Sati Anasuya | Tamil | Maa Roopa Nava Shobana | Ghantasala | |
| 1958 | Uthama Illalu | Telugu | Veyinola Koniyaru Rasakalpame | G. Ramanathan & M. S. Raju | P. Leela |
| 1959 | Chathurangamm | Malayalam | Kaatte Va Kadale | G. Devarajan | |
| Odakkuzhalum | |||||
| Kaatte Va Kadale Va | K. S. George | ||||
| 1959 | Jayabheri | Telugu | Neeventa Nerajaa Navauraa | Pendyala Nageswara Rao | |
| 1959 | Kalaivaanan | Tamil | Kaadhal Silai Aadudhe | Pendyala Nageswara Rao | |
| 1959 | Kalyanikku Kalyanam | Tamil | Aanandham Indru Aarambam | G. Ramanathan | P. Leela |
| 1959 | Kaveriyin Kanavan | Tamil | Vannatamizh Sornakili | K. V. Mahadevan | |
| 1959 | Krishna Leelalu | Telugu | Thaalalenuraa Thaginadaanaraa | S. Dakshinamurthi | |
| 1959 | Mamiyar Mechina Marumagal | Tamil | Pathu Viral Modhiram | R. Sudarsanam | |
| Ranga Ranga Ranga | Seerkazhi Govindarajan | ||||
| Maithunare Maithunare | A. P. Komala | ||||
| Kanna Vaa Vaa | |||||
| Inge Irupadhaa | |||||
| Ilavu Kaaththa Kili Pol | |||||
| 1959 | Manimekalai | Tamil | PazhangkAla Thamizharin Vaazhkai Murai | G. Ramanathan | N. L. Ganasaraswathi |
| 1959 | Minnal Veeran | Tamil | Manamirunthaal | Vedha | P. Leela |
| 1959 | Orey Vazhi | Tamil | Kalvi Kalvi Endru Paadu | R. Govardhanam | P. Leela |
| 1959 | Pennkulathin Ponvilakku | Tamil | Kadavul Padaikkavillai | Master Venu | P. Leela |
| 1959 | President Panchatcharam | Tamil | Oli Padaitha Kanninaayi | G. Ramanathan | Radha Jayalakshmi |
| 1959 | Thanga Padhumai | Tamil | Varugiraal Unnai Thedi | Viswanathan–Ramamoorthy | Soolamangalam Rajalakshmi |
| 1959 | Vachina Kodalu Nachindi | Telugu | Pahimam Jayajaya | S. Dakshinamurthi | |
| Pahimam Saranantimamma | Ghantasala & Jikki | ||||
| 1960 | Mannadhi Mannan | Tamil | Kalaiyodu Kalandhadhu Unmai | Viswanathan–Ramamoorthy | |
| Aadadha Manamum Undo | T. M. Soundararajan | ||||
| 1960 | Meenda Sorgam | Tamil | Aadum Arul Jothi | T. Chalapathi Rao | Seerkazhi Govindarajan |
| 1960 | Parthiban Kanavu | Tamil | Andhi Mayanguthadi | Vedha | |
| Vadiveru Thirisoolam Thondrum | |||||
| Munnam Avanudaya Naamam Kettaal | |||||
| 1960 | Petra Manam | Tamil | Sindhanai Seiyadaa | S. Rajeswara Rao | Sivaji Ganesan (dialogues) |
| 1960 | Raja Bakthi | Tamil | Karka Kasadara Katraapin | G. Govindarajulu Naidu | |
| 1960 | Raja Desingu | Tamil | Paakkadal Alai Mele | G. Ramanathan | |
| 1960 | Seetha | Malayalam | Kanne Nukaru Swargasukham | V. Dakshinamoorthy | |
| 1960 | Thilakam | Tamil | Kaathirundha Kannukku | R. Sudarsanam | |
| Manasukkulle Maraichu Vaikka | Seerkazhi Govindarajan | ||||
| Ezhaikkum Vaazhvukkum | Seerkazhi Govindarajan & T. S. Bagavathi | ||||
| 1961 | Desinguraju Katha | Telugu | Pala Kadali Meedha | Pamarthi | |
| 1961 | Sri Kanyaka Parameswari Mahatmyam | Telugu | Virahini Ninu Kore | R. Sudarsanam | Soolamangalam Rajalakshmi |
| 1961 | Kongunattu Thangam | Tamil | Irundhum Illaadhavare | K. V. Mahadevan | |
| 1961 | Krishna Kuchela | Malayalam | Varnippathengine | K. Raghavan | P. Leela |
| 1961 | Malliyam Mangalam | Tamil | Avarindri Naanillai Kanne | T. A. Kalyanam | |
| 1961 | Sthree Hrudayam | Telugu | Neeve Jagajyothi | Nityanand | Seerkazhi Govindarajan |
| 1961 | Ummini Thanka | Malayalam | Geethopadesham | V. Dakshinamoorthy | V. Dakshinamoorthy & P. Leela |
| 1962 | Ekaika Veerudu | Telugu | Nanukora Thagadidi Vinumaa | S. P. Kodandapani | |
| Hrdayamulu Pulakinnchavo | Seerkazhi Govindarajan | ||||
| 1962 | Vikramaadhithan | Tamil | Adhisayam Ivanadhu | S. Rajeswara Rao | |
| 1963 | Susheela | Malayalam | Thaalolam Thankam Thaalolam | V. Dakshinamoorthy | |
| 1964 | Veeranganai | Tamil | Angamellam Sornthu Vaada | Vedha | P. Leela & K. J. Yesudas |
| 1965 | Maganey Kel | Tamil | Kalai Manggai Uruvam Kandu | Viswanathan–Ramamoorthy | Seerkazhi Govindarajan |
| 1965 | Pinchuhridhayam | Malayalam | Gaanavum Layavum Neeyalle | V. Dakshinamoorthy | P. Leela |
| 1965 | Shakunthala | Malayalam | Kaamavardhiniyaam | K. Raghavan | P. Leela |
| Kaalil Chilanka | K. J. Yesudas | ||||
| Guru Brahma | |||||
| 1966 | Rangula Ratnam | Telugu | Chepa Rupamuna | S. Rajeswara Rao & B. Gopalam | A. P. Komala |
| 1967 | Sri Purandara Dasaru | Kannada | Aadidano Ranga | C. N. Pandurangan |
References
- Chords and Notes[Usurped!]. The Hindu (4 August 2003)
- "Sangeeta Kalanidhis". karnatik.com. Retrieved 28 July 2013.
- Blend of melody, rhythm and intellect[Usurped!]. The Hindu (4 July 2003)
- Calutta K.S. Krishnamurthi, 'Sruti' Issue 75–76 December 1990 – January 1991
- Guy, Randor (21 December 2017) ML Vasanthakumari turned down offer to act with Thyagaraja Bhagavathar. Deccan Chronicle
- Calutta K.S. Krishnamurthi, 'Sruti' Issue 98 Nov 1992
- Gopal, Rupa (December 2009). "A Nightingale called MLV". The Hindu.
- "The Hindu: Voice with an enchanting lilt". Archived from the original on 5 September 2009. Retrieved 3 December 2008.
{{cite web}}: CS1 maint: unfit URL (link) - Munneeta Pavalinchu song on YouTube
- "M.L.Vasanthakumari - Page 2 - rasikas.org".
- "M.L.Vasanthakumari - Page 4 - rasikas.org".
External links
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|---|---|
| General | |
| National libraries | |
| Other |
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На других языках
[de] M. L. Vasanthakumari
M. L. Vasanthakumari (Madras Lalithangi Vasanthakumari; * 3. Juli 1928 in Madras; † 31. Oktober 1990) war eine indische Sängerin karnatischer Musik. Sie gehört neben D. K. Pattammal und M. S. Subbulakshmi zu den wichtigsten Vertreterinnen dieser südindischen Musiktradition.[1]- [en] M. L. Vasanthakumari
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