For the first time in the history of South Indian Music, Tyagaraja's brilliant opera Proklada bhakti vijayam is being published with the songs in notation. The publication of this opera is an event of great importance. It will help scholars and musicians to have a better idea of the genius of the composer, his poetic imagery, his command over Telugu, his extraordinary gifts at melody-making, his extensive imagination, his powers of characterisation etc.
This is the third opera in Telugu that I have the privilege of placing before the public with the songs in notation. For the lakshana of the Geyanataka (opera) and the qualifications required of a composer to attempt this type of composition, the reader is requested to refer to my Introduction to Nouka charitram.
Tyagaraja's Nouka charitram was published by me in 1939 and a second edition of this opera was published in 1962. The second opera, Pallaki seva prabandham of Shahji Maharaja was published by me in 1955 with a critical introduction and the songs with notation. The third opera Prahlada bhakti vijayam of Tyagaraja is now published. I had the privilege of producing the Prahlada bhakti vijayam over the Madras Radio in the year 1947 during the Centenary Celebrations of the great composer. For a long time, it was my ambition to publish this opera in full with the songs in notation and this ambition has now been realised.
Amongst Tyagaraja's disciples, some were content with learning his Kritis. Some disciples like Chowna Venkatachalapati Bhagavatar were content with learning his Divyanama Kirtanas. Some like Nemam Subrahmanya Iyer concentrated on learning his Kritis in Prati madhyama ragas. Tyagaraja's contribution to the repertoire of South Indian Music was so colossal and stupendous, that it was virtually impossible for any one disciple, however gifted he was, to learn and specialise in the rendering of all his compositions. Further the sage of Tiruvaiyar was, on an average composing two or three kritis every day during his long and active period as a composer. Some disciples were with him for two years, some for three years, some for five years and they learnt the compositions that were composed during their period of stay and tutelage. It was the peculiar privilege of Walajapet Venkataramana Bhagavatar to be associated with the composer for more than three decades and that is how he came to amass a rich repertoire of Tyagaraja's compositions. Further he was a scholar in Telugu and Sanskrit and wrote down the verses and songs of Tyagaraja's operas with a sense of understanding. He caught the true spirit of the verses and songs of his operas. Nouka charitram was kept alive in the minds of many musicians by the Walajapet disciples, by giving a recital of the entire opera with true fervour and devotion on the occasion of Vaikunta Ekadasi night, every year. There was a note book in the Walajapet collection which contained the songs of Prahlada bhakti vijayam in notation but that note-book is not now traceable.
Of the three operas of Tyagaraja, Prahlada Bhakti Vijayam, Nowka Charitram and Sita Rama Vijayam, the first one is the longest. It consists of 5 Acts. Forty-five songs figure in this opera. Some of the songs are in the style of Kritis and some in the style of Divyanama Kirtanas. There are also beautiful kanda padyas, sisa padyas, utpalamalas, champakamalas and dvipadas. The prose passages here and there explain the connecting links in the story. The famous churnika Jayatu Jayatu sakala nigamagama describing the greatness of Vaikuntha, figures in Act II of this opera. This churnika, picturising the divine glory of Vaikuntha is grand in its construction. Its high-sounding panegyrics have a telling effect.
The name of the opera is Prahlada Bhakti Vijayam and not Prahlada Bhakta Vijayam. It is the triumph of Prahlada's bhakti that is significantly sought to be conveyed in this opera and not the life-story of Prahlada. Appropriately enough, Tyagaraja has introduced some incidents not found in the original story, Prablada Charitram. It is open to a poet to introduce in a play, fictitious incidents for the purpose of heightening the interest in the drama and to subserve the purpose, he has in view. His senior contemporary Merattur Venkatarama Sastri has introduced some fictitious incidents in his Telugu dance dramas. For instance, in his Prahlada Charitram, after the avatar of Narasimha takes place, a long but spiritually uplifting dialogue takes place between Hiranya (who acquires divine jnana) and Narasimha. This dialogue has no basis in the original story.
Throughout the opera, Prahlada refers only to Rama. The significance of this can be understood only when it is remembered that to Tyagaraja, Rama was Parabrahma. In the Kriti, Telisi Rama chistanato (Purna chandrika raga) Tyagaraja equates Rama with Brahmam. It is not, that the composer was not aware of the fact that Ramavatara took place after Nara- simhavatara. Through Prahlada, Tyagaraja tells us what is true bhakti and what will be the reactions of an ideal bhakta to particular trials and ordeals. Tyagaraja has been a shrewd observer of men, manners, customs and human foibles. Not only does he reveal these in the opera but also gives his own views, concerning some of the controversial problems besetting the society. All the songs in the opera bear the composer's signature. The composer's ankitam (signature) is also found in some verses; see P. 3 last line and P. 8 line 25. In the latter case, the name Tyagaraja may be construed as Paramasiva.
Both in the introductory dvipada and in the phalasruti at the end, he refers to himself as the son of Ramabrahma.
The portrayal of the episodes in this opera is so vivid and masterly that the story seems to take place before our very eyes. Bhava pushti, Artha pushti and Sangita pushti are abundantly seen in this opera.
For privacy concerns, please view our Privacy Policy
Send as free online greeting card
Email a Friend
Manage Wishlist