Thursday, October 22nd, 2015
If Vedas, Yagas and Yajnas are incomplete without its musical component, endorsing this truth, Prasanthi Nilayam witnessed twin musical offerings, one with a stamp of passionate devotion and another one of rocking musical ensemble of instrumentals, marking the grand-finale of the week-long Dasara Mahotsav this evening here, in Prasanthi Nilayam. The artistes were Sri Garimella Balakrishna Prasad from Rajahmundry, Andhra Pradesh and Ms Roopa Panesar from the United Kingdom.
Earlier, the session commenced with a Vedic invocation by the tiny tots from Smt Easwaramma English Medium High School.
Bhagawan’s Divine discourse followed next. With time stood almost still, as if attempting to catch Him up, Bhagawan’s torrential wisdom down poured for the next 20 minutes, discoursing on the Panch Tattwas, and the greater need for Universal Brotherhood. The Divine discourse came to a close with a most exhilarating, elevating and inciting “Narayana Bhaja Narayan…”.
Performing first, Sri G Balakrishna Prasad presented a Carnatic devotional session singing paeans to Bhagawan with Annamacharya Kritis. Garimella Balakrishna Prasad is accomplished classical devotional singer, composer and T.T.D Asthana Vidwan, who is specialised in Annamacharya Kirtans. Before his concluding number, the singer paused for a while gratefully remembering the unparalleled blessing he had been blessed with to perform in the direct Divine Presence of Bhagawan, elsewhere, on earlier occasions.
The evening numbers included a most captivating final number Neerajanam… Neerajanam… on Lord Venkateshwara. Sri Krishna Prasad was accompanied by co-artistes, Ms R. Gullemma on vocal support, Sarvasree K. Shankar, P. Panduranga Rao and P. Suresh on Violin, Tabla and Rhythm respectively. At the end, the artist and the accompanists were felicitated.
Twilight was setting in and time was ripe for the grand finale.
With Ms Roopa Panesar on the Sitar leading the group of foursome, Sarvasree Kaviraj Singh, Prasanna Devarajah and Suheb Ahmed Khan, playing on Santoor, Mridangam and Tabla respectively, rocked the house for the next one hour in the waning twilight, with a most refreshing and rejuvenating session of instrumental music.
The group of foursome played a selection of Prasanthi Bhajans to begin with, presenting in medley, and the capacity audience sat in silent absorption, cheering at intervals. The session also witnessed a most exciting ‘Jugalbandhi’ involving Santoor, Tabla and Mridangam.
A Bhajan Medley by the UK contingent continued and the session ended with Mangala Arathi at 1920 hrs.
II Samastha Lokah Sukhino Bhavantu II
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