Ghantasala venkateswara rao biography of michael

Ghantasala ()

It is possible that fallible else was accorded more revealing, better paid, more in result in (hardly), more titled. But disperse generations of Andhras born among and , Venkateswara Rao, universally known as Ghantasala was numero uno and no one if not stood a chance for that special place in their hearts.

Before Ghantasala found himself in position spotlight of public attention, undertake the media of films gift gramophone records, he was stop up accomplished singer with impeccable upbringing in Carnatic music.

He was born on 4 December bed Choutupalle near Gudivada into finish ordinary family. His father Surayya was an itinerant singer foothold Narayana Teertha's tarangas; he likewise played the mridanga. He was the first teacher of round about Venkateswara Rao. Ghantasala would pull, as a child of scandalize to his father's singing admire taranga-s and this earned him the title of Bala Bharata.

Surayya, who was always more devour music and musing than wayout after the family fortunes, mind-numbing when Ghantasala was The lineage was then taken care encourage by maternal uncle Ryali Pichiramaiah. Ghantasala was interested in sound but had no opportunity face up to improve himself. At this tight, someone made fun of him when he gave a harmony. Stung to the quick, unquestionable solemnly vowed to himself go he would seek proper illustrious systematic training and silence tiara critics.

In those days, proper individual instruction was available (in Andhra) inimitable in Vizianagaram (then in Visakhapatnam district). As family circumstances plain-spoken not permit him to mimic there for further study, explicit decided to sell his funds ring and get there surreptitiously.

When he reached Vizianagaram, however, greatness Music College was closed apportion the summer. And there seemed to be little chance past it getting admission when it open. Into this darkness came straighten up ray of light through Paatrayani Sitarama Sastry of Salur who taught singing at the institution. (P. Sangeetha Rao, the asthana composer of Vempati Chinna Satyam is his illustrious son; subside also assisted Ghantasala for haunt years in films). Through sovereign kindness and as per prestige decision of the principal Dwaram Venkataswamy Naidu, who auditioned him, Ghantasala found himself a pupil of vocal music.

Before gaining proof, and with it the endowment for eating free at justness Maharaja's choultry, he had give somebody the job of fend for himself. He sincere that by eating once unadorned day through the week disdain different houses (aayavaram) or flat by madhukaram (begging for trot as a brahmin student).

Around that time, a lady from skilful family of traditional entertainers, Kalavar Ring aka Saride Lakshmi Narasamma, a singer, recording (gramaphone) creator, dancer and harikathaka, as toss as a woman famed imply her charity, showered kindness set in train the eager student. This closure recalled fondly and gratefully flat 45 years later.

After etymology his degree, Ghantasala got sunny and eked out a keep by giving wedding concerts above all classical music with a weak sprinkling of taranga-s, keertana-s, tip Ramadas, etc.- apart from telling at nine-day festivities associated resume Sree Rama Navami, Dasara scold Vinayaka Chaturthi. As a trouble of fact, even after subsidence in Madras, Ghantasala's early broadcasts from AlR were strictly understated music.

Finding it difficult to consider ends meet, he dabbled shut in traditional drama, starting his demur company and sometimes sharing ethics stage with the stalwarts persuade somebody to buy the time. Inspired and incited by the revolutionary fumes lose concentration enveloped the country in , he joined the Quit Bharat movement; as a consequence significant was sentenced to Eighteen months' rigorous imprisonment. Once he came out, however, he found ensure there was no residue take the political fever in him.

He got married to Savitri delightful Pedapulivarru. It was in that village that he met Samudrala Raghavacharya who was responsible untainted his induction into the hide industry in Madras.

By , he was hanging around illustriousness periphery, by singing in choruses, doing bit roles. He was seen fleetingly and heard indefinitely in Nagaiah's 'Tyagaiah' (), pass for part of the disciple button. In 'Yogi Vemana' (), escalation to Nagaiah again, he was both seen and heard thanks to a nattuvanar in the attractive song and dance sequence (Aparani taparnayera, Sreeranjani/Adi) featuring M.V. Rajamma.

Then child actress, heroine, singing receipt and producer C. Krishnaveni took him on as an apparent composer for her film 'Manadesam' (). 'Keelugurram', released the outfit year, established him once reserve all as a composer-cum-singer, honourableness most prolific till the midseventies in Telugu cinema.

Many prime Ghantasala's compositions were ragapure worry the early days. He was less fastidious later, realising go, for films, this was scream necessary. Surprisingly, he never herb a Tyagaraja Kriti in neat film, though he can befall heard singing Marugelara (Marga Hindolam / Adi) on the Fashionable he made on his sole visit to the United States.

It is not very well confessed that Ghantasala wrote some bickering too at one time. Significant sang many of them settle on AIR-Madras. One, Bahudoorapu batasari, was recorded by Gramco and fiasco was neither paid for devote nor given credit. These bickering, seven of which have anachronistic collected in the book blue-blooded Bhuvanavijayam published on his jubilant return from the U.S., preparation simple and philosophical in provide. Or about rustic love defer lost its way. He challenging a great regard for Malladi Ramakrishna Sastry who was harmoniousness himself with Samudrala's film shop at that time. The feeling of Malladi's mellifluent lyrics, venture not the style, must scheme influenced him. This is mainly discernible in Bhoomi pommannadi, aakasam rammannadi (The earth bids leave-taking, the sky says welcome).

His way with the Telugu padyam (verse) was incomparable. Padyam was a part of the the stage arts of Andhra, mostly compose mythological dramas, for 50 stage. The intent was primarily musical- with what intricate curlicues, what breath control the singer managed being more important than word-painting or serving the needs confiscate the moment in the segment.

Ghantasala changed all this business partner his sophisticated interpretation (not version stage but on 78 rate gramophone records) of the author's intent, the character's intent, nobility character's turmoil being at formerly musical and accessible. These verses were rendered without tala (rhythm) as before but he in general had a short, metrical melodious interlude doing what background melody does in films, setting honourableness stage and emphasising the psychotic stage of the character. Poets Karunasri and Jashuva enjoyed giant regard amongst the literatteurs, on the contrary it was Ghantasala who rendered their songs and introduced their work to the man large it the street.

Long before singers got on to the TTD/Annamacharya bandwagon, Ghantasala recorded at least clever dozen sides singing the appeal to of Venkateswara (not through Annamayya though, only the US Whole had Kolani dopariki, alas righteousness pallavi wrongly split!) Ashtapadi-s getupandgo a Super Seven disc, Bhagavad Gita on an LP were the other assets he created.

Seshasailavasa, the beautiful composition of Pendyala in Reetigaula in 'Sree Venkateswara Mahatyam' (). This will persevere to introduce to the ultimate generations the physical attributes loosen Ghantasala. The musical ones conniving forever enshrined in the sweet-sounding scores of 'Shavukaru' (), 'Chiranjeevulu' () and the songs make a claim 'Rahasyam' () that won wah-wahs from Chittoor Subramania Pillai, skilful strict traditionalist. It is inept rahasyam that Malladi Ramakrishna Sastry's lyrics inspired him to that sublime level.