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Kedaram Celebrates 11th Anniversary with Bhavana Iyers Carnatic Recital at Ragasudha Hall
On July 30, 2026, the Chennai‑based cultural organisation Kedaram marked its 11th anniversary with a concert that unfolded in the historic Ragasudha Hall of Mylapore. The hall’s management hosted the event, drawing a crowd of local musicians, students, and long‑time supporters.
The programme opened with a vocal recital by Bhavana Iyer, a young Carnatic vocalist trained in the Semmangudi bani. She was accompanied by violinist Pappu Gyanadev, mridangam player Ajith Sridhar, and ghatam maestro Master Skandan Manjunath. The ensemble’s playing was noted for its sensitivity and restraint, allowing Iyer’s voice to remain the focal point.
Iyer began with Tyagaraja’s kriti “Upacharamu cheseva,” entering at the anupallavi line. A structured swarakalpana highlighted the Bhairavi raga, followed by Swati Tirunal’s “Vande sada padmanabham” rendered in Navarasakanada and a detailed alapana of Vasantha. She then added Muthuswami Dikshitar’s “Brahadambikayai namaste” in Misra Chapu, deepening the programme’s range.
A substantial portion of the evening focused on the raga Surutti. Iyer’s alapana was described as imaginative and poised, showcasing the raga’s expressive breadth. She performed Dikshitar’s “Sri venkatagireesam,” developing a niraval on the charanam line “Alamelumanga sametham” before presenting a well‑crafted swarakalpana.
The recital also featured a Syama Sastri composition, “Devi brova samayamithe,” set in the rare raga Chintamani, and an energetic rendering of Arunachala Kavi’s Tamil kriti “Hanumane swamikkinda” in Malayamarutham.
The highlight of the night was the raga Sankarabharanam. Iyer’s performance of Tyagaraja’s “Entuku peddala” included a detailed niraval on the line “Veda sastra tatvarthamu telisi.” The violin’s swara exchanges with Gyanadev were structured around gandharam‑centric phrases, providing a satisfying conclusion. Critics noted that in some upper‑register passages Iyer’s voice briefly turned slightly strident, a point she acknowledged as an area for further practice.
The supporting musicians were praised for their restraint. Gyanadev’s violin accompaniment was described as sensitive and never overpowering. Sridhar’s mridangam and Master Skandan Manjunath’s ghatam were noted for rhythmic precision. Skandan, a young ghatam artist, was highlighted for his mature musicianship and impeccable sense of rhythm.
Iyer closed the recital with a ghana ragamalika that traversed Nattai, Gowlai, Arabhi, Varali, and Sri, all performed in praise of Goddess Sharadambika.
The event was reported by The Hindu on July 31, 2026 at 04:06 pm IST. It was part of Kedaram’s broader anniversary celebrations, which have included concerts and cultural programmes over the past decade.
The 11th anniversary marked a milestone for Kedaram, an organisation that has been active in promoting Carnatic music and cultural heritage in Chennai for more than a decade. The concert at Ragasudha Hall reinforced the organisation’s commitment to presenting high‑quality classical music to the community.
The recital was recorded and made available on Kedaram’s official social media channels, where listeners praised the depth of the repertoire and the professionalism of the performers.
No further events or releases have been announced by Kedaram following the anniversary celebration. The organisation’s website lists upcoming programmes, but no dates have been confirmed at this time.
The programme opened with a vocal recital by Bhavana Iyer, a young Carnatic vocalist trained in the Semmangudi bani. She was accompanied by violinist Pappu Gyanadev, mridangam player Ajith Sridhar, and ghatam maestro Master Skandan Manjunath. The ensemble’s playing was noted for its sensitivity and restraint, allowing Iyer’s voice to remain the focal point.
Iyer began with Tyagaraja’s kriti “Upacharamu cheseva,” entering at the anupallavi line. A structured swarakalpana highlighted the Bhairavi raga, followed by Swati Tirunal’s “Vande sada padmanabham” rendered in Navarasakanada and a detailed alapana of Vasantha. She then added Muthuswami Dikshitar’s “Brahadambikayai namaste” in Misra Chapu, deepening the programme’s range.
A substantial portion of the evening focused on the raga Surutti. Iyer’s alapana was described as imaginative and poised, showcasing the raga’s expressive breadth. She performed Dikshitar’s “Sri venkatagireesam,” developing a niraval on the charanam line “Alamelumanga sametham” before presenting a well‑crafted swarakalpana.
The recital also featured a Syama Sastri composition, “Devi brova samayamithe,” set in the rare raga Chintamani, and an energetic rendering of Arunachala Kavi’s Tamil kriti “Hanumane swamikkinda” in Malayamarutham.
The highlight of the night was the raga Sankarabharanam. Iyer’s performance of Tyagaraja’s “Entuku peddala” included a detailed niraval on the line “Veda sastra tatvarthamu telisi.” The violin’s swara exchanges with Gyanadev were structured around gandharam‑centric phrases, providing a satisfying conclusion. Critics noted that in some upper‑register passages Iyer’s voice briefly turned slightly strident, a point she acknowledged as an area for further practice.
The supporting musicians were praised for their restraint. Gyanadev’s violin accompaniment was described as sensitive and never overpowering. Sridhar’s mridangam and Master Skandan Manjunath’s ghatam were noted for rhythmic precision. Skandan, a young ghatam artist, was highlighted for his mature musicianship and impeccable sense of rhythm.
Iyer closed the recital with a ghana ragamalika that traversed Nattai, Gowlai, Arabhi, Varali, and Sri, all performed in praise of Goddess Sharadambika.
The event was reported by The Hindu on July 31, 2026 at 04:06 pm IST. It was part of Kedaram’s broader anniversary celebrations, which have included concerts and cultural programmes over the past decade.
The 11th anniversary marked a milestone for Kedaram, an organisation that has been active in promoting Carnatic music and cultural heritage in Chennai for more than a decade. The concert at Ragasudha Hall reinforced the organisation’s commitment to presenting high‑quality classical music to the community.
The recital was recorded and made available on Kedaram’s official social media channels, where listeners praised the depth of the repertoire and the professionalism of the performers.
No further events or releases have been announced by Kedaram following the anniversary celebration. The organisation’s website lists upcoming programmes, but no dates have been confirmed at this time.
