Arangetram in Tamil may mean the etram or ascending of the arangam or performance stage by a dancer or singer, but it also must have an impact on those who witness that experience. It is the first complete solo concert - the first milestone in one’s journey as a performing artiste. This first formal performance heralds the commitment to this art form and brings to light the artiste’s caliber. Preparing for and performing one’s Arangetram is a major life experience. It teaches what true learning is all about.  Understanding the literal and contextual meaning of each song is very important. When these come together, the depth of the performance gradually reveals itself. Overcoming mental and vocal challenges, the innermost feelings are invoked. This overall experience brings a clear understanding of what it takes to be a performing vocalist.

The evening of September 6th at Ashland High School will be etched in my own memory as an experience of a lifetime, not only for Anusha Kulkarni. An event that I will always cherish, as I was not just delighted but also excited.  This was the first Arangetram that I ever attended and the fact that it happened to be of a girl, who I am very fond of and who has already been an integral part of many of the concerts that I have directed in Boston, made it all the more special. This day culminated eight years of intense learning and coaching with her guru Shuchita Rao.  Preparing for this milestone was a feat for the entire family.  The long practice sessions, intense music rehearsals, and the arrangements for the event itself took a lot of effort.  

The foyer’s artistic display of statuettes of Lord Ganesh, Goddess Saraswati, and pictures of Anusha, was pleasing and elegant. Ladies were clad in colorful saris and men looked at their best. Hosts Shridhar and Jaya Kulkarni, greeted about 500 invited guests, as they arrived.

The program commenced at 4pm with the charming emcee Shobha Hiremath welcoming the guests. Anusha’s teacher, Smt. Shuchita Rao, her parents Jaya and Shridhar and her brother Ashwin accompanied Anusha attired in a colorful purple ghaghra choli embellished with sparkling jewels, to the resplendent idols of Lord Ganesh and Goddess Saraswati.  Together, they prayed to invoke the blessings of the divine powers, providing the perfect setting for what was to follow in the rest of the evening.

Anusha opened her performance with Saraswati Vandana, a prayer in the Sanskrit language dedicated to Goddess Saraswati based on Raag Sindoora/Kirvani.

In the next item, Anusha made a captivating presentation in Raag Chaayanat. The Vilambit Khayaal Eri Ubuh Goondh Laori created the mood of beauty and romance, while also setting the tone for the Drut Khayaal Jhanana Jhanana which followed right after. With Ubuh Na Ghar Aye Shyam in Raag Bhimplasi, Anusha enthralled the audience with her energy, technical brilliance, intricate and perfect synchronization of bhava and taala. The Tarana which followed provided the perfect closure to this item.

The monsoons were let loose with Raag Megh next, first with the Madhyalaya Khyaal Barkha Rutu Aaaye, later transforming into the fast-paced Drut Khyaal Megh Shyama which created the effect of dancing during a heavy downpour. Anusha’s voice modulation and control here were of top order. With RaagMala which followed next, Anusha presented the musical masterpiece of the evening. The way she glided seamlessly between the many selected ragas was not just an absolute treat, but also validated the fact that she had attained the desired level of training and maturity. With Meera Bhajan, composed in Raag Todi/Lalit and set in a Bhajani taal, an interesting mood of loneliness set in a packed hall, which also led to a short intermission at 6 P.M.

The second half of the evening kicked-off with Raag Maalkauns. the Vilambit Khyaal Krishna Madho Ram extended to the Drut Khyaal Rang Raliyaan Karat Sautan, providing an otherwise traditional composition into something really brilliant. So far RagMaala had impressed me the most, but this enchanting presentation of Anusha’s cast a spell over me for a few minutes. Raag Adana followed next, with a melodious Alaap blooming to the Chaturang. Raag Chandrakauns opened with the flute accompaniment, bringing the sound of wisdom and light. Elli Jaritho is a captivating composition of Kannada Bhaavageete, to which Anusha did full vocal justice.

Raag Shivranjani is a lovely Raag which best reflects the sentiments of pathos. Anusha rendered Sandhya Sanjeevani, Dhrupad set to 10 beat SoolTaal, very appropriate for that time of the evening. At that time, I was privileged to be invited on stage to say a few words about my association with Anusha and her involvement in the various musical concerts of film music that I had directed over the past several years. She received tons of blessings from me for that evening and the very best for the future. Mere Naina Sawan Bhadon was a popular and natural representation of the Raag, originally sung by Lata Mangeshkar and Kishore Kumar to an RD Burman composition, which Anusha delivered flawlessly and, not surprisingly, received a tremendous applause.

Raag Marubihag signaled the beginning of the end of this special event. While I was familiar with this Raag, I found the devotional song Marathi Abhang, which Anusha presented with a lot of feel, not only refreshing but also spiritually uplifting.

Following the established tradition, Raag Bhairavi brought the perfect closure to this Raag-saturated evening. The Thumri Kaisi Ye Bhalai Re – a complaint about Lord Krishna by Gopikas  in a 16 beat Taal - was beautifully rendered. Anusha’s voice did not show any sign of strain despite a virtually non-stop performance. The curtain came down with the Kannada Bhajan Hege Archisali, bringing a dazzling evening to a perfect closure.

Anusha in her brief remarks thanked her guru Shuchita Rao, her parents, and brother Ashwin for their unflinching support, inspiration, and guidance and to everyone present who had helped her on and off-stage in performing her Arangetram.

In their concluding remarks, Anusha’s parents standing by her side thanked Shuchita Rao for her great vision and passion in teaching Anusha and giving her a distinct identity enabling Anusha to not only learn Indian classical music in its true spirit, but also discipline, self-confidence, stage-presence, and social interaction, all of which would help in leading her life successfully. A beaming Anusha and family members received a rousing ovation and all accompanying artistes received bouquets of appreciation.

Sarita Deshpande accompanied Anusha on the Harmonium and shadowed with rich imagination. Rajesh Pai on the Tabla provided great support and played with energy and enthusiasm. Together, the senior artists provided Anusha with a solid framework upon which she launched her spontaneous and varied improvisations. Prayuth Nadothota’s flute accompaniment in selected items was brilliant. Radha Rao and Rohit Rao provided splendid support on the tanpura, guitar and synthesizer respectively, and little Ashwin, Anusha’s younger brother, made his presence felt on stage by his percussion accompaniment of Manjira for the devotional compositions.

After the Arangetram, the guests were treated to a sumptuous dinner.

One could not help being impressed with Anusha’s level of readiness for her Arangetram. It was a spectacular performance by any standard, confirming to all present that she was poised to embark on more challenging journeys ahead.

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