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A.R.Rahman (Fan Club) (Page 25)

sweetdisha Senior Member
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Posted: 08 April 2006 at 10:54am | IP Logged

AR RAHMAN Live in Concert 2006

SINOWIN + SAZIS Presents
Price Type A Reserve
(VIP)
B Reserve C Reserve D Reserve E Reserve
Adult $3880 $1980 $980 $580 $380
Date & Time (Sat) 18 Feb 2006 at 7:30pm
Venue HKCEC - Hall 3 **View Seat Map Click Here**
Wheelchair Access Please contact 2922 8285
Remarks Marked Seating
Age Limit: 6
Patrons are strongly advised to arrive early, the show will start on time.

Ticket Price does not include Customer Service Fee

AR RAHMAN Live in Concert 2006

A.R. Rahman

A R Rahman is the man who has redefined contemporary Indian music, is the pride of the nation and a role model for millions around the world. He has sold more than 100 million copies of albums comprising of music from more than 50 movies.

Rahman is widely considered as the man who single handedly revived public interest in Indian film music in the 90s. In 1997, to commemorate 50 years of Indian independence, Rahman came out with an album, 'Vande Matram' produced by BharatBala. The timing was perfect. The Indian youth related to it and it rekindled the spirit of patriotism. Being Indian was fashionable amongst the youth again.

In 2001, Andrew Lloyd Webber, a well known composer of musicals like Phantom of the Opera, Cats, Jesus Christ Superstar etc invited Rahman to compose for the musical, 'Bombay Dreams' which opened to packed houses in London's West end. The show had an unprecedented run for 2 years and later premiered in NewYork's Broadway. Rahman also composed the score for a Chinese film, 'Warriors of Heaven and Earth' and a piece for the award winning violinist/musician Vannesa Mae called 'Raga's Dance.' Rahman is currently working on the stage version of J R R Tolkien's 'Lord of The Rings' , which will premiere in Toronto, Canada in 2006.

Rahman's forthcoming projects include Godfather, AhAah in Tamil and The Rising, Water, Rang De Basanti in Hindi.

Besides this, Rahman is also involved in other charitable causes. In 2004, he was appointed the Global Ambassador of the Stop T B Partnership , a project by the World Health Organistation

Tickets are priced at HK$3,880(VIP), HK$1,980, HK$980, $580 and HK$380 and will go on sales on January 3rd at HK Ticketing and Tom Lee outlets. Booking hotline 31-288-288 or web booking at www.hkticketing.com. For further enquiries please contact Mr. Ahmed Khan of Arissa BiBi Collections at 9488 3089.

Performing with A.R. Rahman: Alka Yagnik, Hariharan, Shankar Mahadevan, BlaaZe, Kailesh Kher, Madhushree, Sadhana Sargam...

Concert

Running Time: Approx. 3-4hours without interval

PLEASE NOTE:
The Organiser for this event has instructed HK Ticketing to restrict the selection of tickets to Best Available for this event. This means that you will not be able to choose your own seat(s) for this event. If you wish to choose your own seat(s), you may visit one of our HK Ticketing outletsand box officesor by calling our Ticket Purchase Hotline on 31 288 288 from 10am - 8pm daily.

Source:http://www.hkticketing.com/

sweetdisha Senior Member
sweetdisha
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Posted: 08 April 2006 at 10:55am | IP Logged

NETRU INDRU NALAI

Billed by the organisers as the 'Show of a Lifetime', the Fair & Lovely - Netru Indru Nalai musical nite, at the Indian Airlines Stadium, Meenambakkam, was definitely a star-studded event. The show produced by GSlot.com in aid of The Banyan, an NGO, was described by the comperes for the evening Revathi and Madhavan as a musical journey through more than 40 years, 4,000 movies and 40,000 songs of Tamil cinema.

Aishwarya RajnikanthThe show started off with a dance performance by Aishwarya Rajnikanth, daughter of Tamil superstar Rajnikanth and also ended with her doing an encore to A R Rahman's Vandemataram who made a guest appearance. Another surprise treat for the audience was the coming of Hindi film actor Aaamir Khan, who along with Revathi, sang the Aati Kya Khandala song from his movie Ghulam.

Sujatha and Unni MenonEarlier in the evening, the music of the 70's was relived with some excellent performances by Sujatha and Unni Menon singing Vizhiye Kathai Ezuthu followed by Aval Oru Navarasa by SPB Charan. The audience was then enthralled by a voice, that has had them spell-bound for more than three decades - S Janaki. She sang some of her popular numbers of the 60's and 70's like Macchane Paarthingala and Senthura Poove. Then the trio of Abbas, Ramya Krishnan and Swarnamalya along with students of choreographers Kala and Brinda's dance school Kalalaya , performed a medley of dance numbers from the 60's and 70's like Lovebirds...Lovebirds, Maadi Mele Maadi, Yaaradi Nee Mohini among others.

S JanakiThe audience enjoyed some comic relief when Parthiban came on stage before the 80's was ushered in with Sippi Irukkuthu sung by Janaki and Charan. Almost all the 80's numbers like Idaya Nila by Charan, Kanne Kalaimane by Unni Menon, Edhedho by Chitra, Andhi Mazhai by Janaki and Charan, Ninnukori by Chitra, had music composed by Ilayaraja. Abbas and Ramya were back on stage for dance numbers from the 80's, but there was disappontment for the crowd as Kushboo could not perform due to a torn ligament in her leg.

Revathi and MadhavanWhile the 80's numbers were all Ilayaraja hits , the 90's had the modern musical heartthrob Rahman's numbers like Puthu Vellai Mazhai sung by Unni Menon and Sujatha, Margazhithingal by Srinivas and Janaki and Shankar Mahadevan singing Mudhalvane . Jyothika along with Abbas, had the audience swaying to a medley of fast paced 90's numbers like Macarena and Jumbalaka.

All in all, it was indeed a musical journey back in time.

Author : Srinivasan P
Photographs - V Ganesan

Source:http://www.chennaibest.com

sweetdisha Senior Member
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Posted: 08 April 2006 at 10:56am | IP Logged

Delhi girl sings in 'Rang De Basanti'

New Delhi | January 27, 2006 9:15:06 AM IST

Delhi girl Harshdeep is trying to create a niche for herself in Bollywood, having sung "Ik Onkaar" in Rakyesh Mehra's "Rang De Basanti".

"Actually it is not a song. It is an extract from Japji Sahib (Sikh morning prayer). I consider it an honour to sing 'Ik Onkaar'. We recorded it at 4 a.m. It was a very special moment for me. It is believed that early morning is the time of god and I actually felt god standing next to me and making me sing," says Harshdeep. A trained classical singer, Harshdeep started her musical journey at the age of 14 by winning the MTV video GAGA contest 2001. In 2003, she released her first album "Romantica" - a compilation of old Pakistani songs. She bowed in Bollywood with Deepak Tijori's "Oops" and sang two songs - "Alag alag" and "Uljalu" for the film. But they did not get her much recognition and now she is pinning her hopes on "Rang De Basanti". "Rang De Basanti", which was released Thursday, is a youthful film. A.R. Rahman has composed the music for this youthful drama. Asked about her experience of working with Rahman, she says: "I have always admired Rahman's music. He is a legend. Singing with him was like appearing for the board exams. I was excited as well as nervous. But the moment I entered into the recording studio and began to sing, everything went by as smooth as ice-cream." She wants to compose music too. "I don't want people to know me just as a singer. I want the world to know me as a complete musician. I love each and every aspect of music and don't want to stay untouched from any of it," she says. She is currently busy composing songs for her forthcoming album, which will be released this year. (IANS)

Source:http://news.webindia123.com

sweetdisha Senior Member
sweetdisha
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Posted: 08 April 2006 at 10:58am | IP Logged

Kamal as middle-aged woman?

IndiaGlitz [Thursday, February 02, 2006]

Kamal Haasan is known for trying innovative things. Proving it again, the actor would appear in ten different roles in Dasavatharam.

Interestingly one of the ten roles would be that of a middle-aged woman. It is learnt that a prominent make-up man from Hollywood had been specially called up to prepare Kamal Haasan for the role.

In Avvai Shanmugi, an inspiration of the English flick Mrs Doubtfire, Kamal played a loving husband who in the disguise of a middle-aged woman goes to meet his daughter and set things in order in his family.

Going a step further, he plans to act a middle-aged woman all through in Dasavatharam.

The movie to be directed by K S Ravikumar would have musical score by A R Rehman and dialogues by Crazy Mohan.

Having completed Vettaiyaadu Vilaiyaadu, all works to begin Dasavatharam would begin.

Source:http://www.indiaglitz.com/

sweetdisha Senior Member
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Posted: 08 April 2006 at 10:59am | IP Logged

Hobbits dance to Rahman tune

Toronto, Feb. 2 (Reuters): Hard-working hobbits, elves and wizards take the battle of good and evil to a stage in downtown Toronto on Saturday when the curtain rises on the first preview of the multimillion-dollar Lord of the Rings musical.

The production, drawn from J.R.R. Tolkien's popular stories, will align theatre and a range of musical traditions, including work by Finnish group Varttina and Indian composer A.R. Rahman, to deliver an unprecedented retelling of Tolkien's fantasy classic, producer Kevin Wallace said.

"In terms of spectacle and visual impact, it is as big as a Vegas show and it's as beautiful as what you'd expect to see in three-dimensional art," said the producer. "We've taken Tolkien and found what is appropriate in our art form of theatre and applied it to the story."

Tolkien's trilogy tells the story of Frodo Baggins and his difficult task — saving Middle-earth by destroying the Ring of Power .

Previews begin on Saturday at Toronto's Princess of Wales Theatre ahead of a March 23 world premiere — a two day delay to an earlier date to make improvements. The show boasts a 55-strong cast, three acts and will run more than three hours.

Wallace said audiences should expect an "emotional journey" of enchanting music, fight scenes, acrobatics and dialogue in English and Elvish, a language Tolkien invented.

"It's not a singing, dancing hobbit show," he said. "The music is completely in tune, moment to moment, with the story in Tolkien. It's almost as if it's injected right into your bloodstream."

It took four years for Wallace to bring Lord of the Rings to the stage.

Musical supervisor Christopher Nightingale said he had thought the musical was a "really bad idea" and director Matthew Warchus felt it would be "embarrassing, to put something that is so famous as a book and film on the stage and present it with music".

Source:http://www.telegraphindia.com

sweetdisha Senior Member
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Posted: 08 April 2006 at 11:00am | IP Logged

Sitars, Sufi, Bollywood featured in Pan-Asian music festival

Stanford Report, February 1, 2006
BY BARBARA PALMER

When Linda Hess, a lecturer in religious studies and an expert in Indian poetry, began to brainstorm with Stanford Symphony Orchestra conductor Jindong Cai about the program for the upcoming Pan-Asian Music Festival—which this year will focus on South Asia—Hess assumed the festival would be concentrated on India's and Pakistan's highly venerated classical music traditions.

Cai, the festival's artistic director, had other ideas. If the campus festival was going to feature the region, Cai said, he wanted to do justice to its breadth and vibrancy, to "not squeeze South Asian music into a box," Hess recalled. And, "I want Bollywood!" Cai told her.

The star-studded weeklong festival, which begins Feb. 11, will feature a Feb. 14 appearance by A. R. Rahman, who has composed music for more than 100 Bollywood films and for such projects as Andrew Lloyd Webber's Bombay Dreams and the stage production of Lord of the Rings . Rahman is "huge," Cai said. (London's Daily Telegraph called the composer the "Asian Mozart.") The most common reaction Hess receives when she tells people that Rahman is headed to Stanford is "disbelief," she said.

Top international artists also are featured in other performances, which will include Indian and Hindustani classical music; Carnatic ragas; qawwali, the devotional music of Sufi mystics, as well as Sufi rock, performed by guitarist Salman Ahmad of the rock band, Junooni. On Saturday, Feb. 18, The Stanford Symphony Orchestra, under the direction of Cai, will present the North American premiere of Songs of Five Rivers by the acclaimed British-based Indian composer Naresh Sohal.

Scholars will gather Feb. 11-12 for a symposium on Sufi music, an art form whose influence can be seen in many of the festival's diverse performances. The distinctively spirited and soulful tradition of qawwali originated centuries ago by Sufi mystics who sang songs expressing their piety and longing for God at shrines of Sufi saints, said Hess, who became acquainted with South Asian musical traditions through her study of Indian poetry set to music. The music is used to induce trances in mystical Islam, but can be experienced as beautiful music and literature in its own right, Hess said. The symposium will include a screening of the film The Rockstar and the Mullahs , featuring rock musician Ahmad interviewing orthodox Muslim clerics who believe music is forbidden in Islam.

Cai, who came to the United States from Beijing to study classical music in 1985 and continues regularly to conduct orchestras in China, envisions the festival becoming one of the most important platforms anywhere for contemporary Asian music, he said. (The festival will focus on a different region or country each year.) Support for the two-year-old festival already has been gratifyingly strong, from within the university and from audiences, he added. The festival also has the potential to illuminate diverse cultures for its audiences, he said. "When you focus on the politics of a region, you often see the problems and the conflicts," Cai said. "When you focus on culture, you see people," he said.

Festival performances and highlights will include:

    Feb. 11-12: Symposium, "Sufi Music: South Asian Qawwali and Debates on Music in Islam," Campbell Recital Hall and Stanford Humanities Center. Free. Feb. 12: Farid Ayaz Qawwali Ensemble from Pakistan, 7:30 p.m. at Dinkelspiel Auditorium (pre-concert talk at 6:30 p.m.). General admission, $15; students, $5. Feb. 13: Sufi Rock with Salman Ahmad, 7:30 p.m. at Dinkelspiel Auditorium. General admission, $15; students, $5. Feb. 14: Tribute to A. R. Rahman, 7:30 p.m. at Dinkelspiel Auditorium. General admission, $20; students, $10. Feb. 16: Hindustani Classical Music with Kartik Seshadri, 7:30 p.m. at Campbell Recital Hall. Free lecture and demonstration. Feb. 17: Kartik Seshadri, sitar, and Swapan Chaudhuri, tabla (in partnership with Stanford Lively Arts), 8 p.m. at Dinkelspiel Auditorium (pre-concert talk at 6:45 p.m.). General admission, $42 and $38; Stanford student admission, $21 and $19. Feb. 18: Carnatic Morning Ragas with vocalist Sanjay Subrahmanyam. 9 a.m. at Dinkelspiel Auditorium. General admission, $15; students, $5.
  • Feb. 18: Stanford Symphony Orchestra, under the direction of Cai, will premiere Songs of Five Rivers by Indian composer Naresh Sohal, with soprano Nikki Einfeld. The program also will include Debussy's La Mer ; 8 p.m. at Dinkelspiel Auditorium. General admission, $10; students, $5.

    Tickets can be purchased through Stanford Lively Arts and the Stanford Ticket Office at 725-2787. Festival passes are available. More information about performers, venues and tickets can be found at http://panasianmusicfestival.stanford.edu/and http://livelyarts.stanford.edu/.

 

Source:http://news-service.stanford.edu

sweetdisha Senior Member
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Posted: 08 April 2006 at 11:02am | IP Logged

Rahman ready for Lord of the Rings

Arthur J Pais | January 30, 2006 20:16 IST

People often wake up in the middle of the night if jolted by a nightmare. But when A R Rahman suddenly woke up from one of his power naps a few months ago, he was humming a tune.

"I had to write it down immediately," he says, "I was afraid I might forget it."

When he later played the tune to director Rakeysh Omprakash Mehra, who was in Chennai for the Rang De Basanti recordings, Mehra insisted he wanted the tune for his film. "I told him I thought there was no scope for this kind of song in his film," Rahman says, chuckling, "but he said he would create the situation. I thought, well, it's his headache."

The tune went on to become Tu Bin Bathaiye , the sensuous, lingering number sung by Madhushree and Naresh Iyer.

"Virtually every song in this film has an interesting history to it," says Rahman, adding that, after a long time, he had an opportunity to create a wide variety of tunes. "Besides, the songs are also used to carry the story forward."

In Toronto to finalise the score for the most expensive musical ever, The Lord Of The Rings , the composer discussed a wide range of topics in an interview by telephone, from the creation of some of his most memorable songs in RDB to his continuing association with Subhash Ghai and his strained relationship with Deepa Mehta ( Water ). "She is a lovely person, but I don't know whether we will work together," says Rahman, who decided to opt out of Water over four years ago because it had become too controversial.

"I don't think there was any need for a controversy," he says with a deep sigh, "but some people made it controversial. I did not want to continue to be associated with the film." But he also acknowledges that the movie has some of his finest songs. Though he dropped out, Deepa Mehta insisted he see the film before it opened at the Toronto International Film Festival in September. "It was beautiful," he says.

Rahman is currently working on the music of The Lord of the Rings not too far from Mehta's office in Toronto. He admires her conviction and passion, he says. The $26 million musical extravaganza opens in Toronto in a few weeks, to be followed in a few months by a British edition in London, then a Broadway edition. With some luck, Bombay Dreams will also be touring American and Canadian cities soon.

He is working with a Finnish folk group for The Lord of the Rings , and says that those familiar with the novels and hugely popular movies that have inspired the musical know what to expect musically. "And to those getting to know the show, I would say don't expect Shakalaka Baby or Chaiya Chaiya ," he adds.

While the Bombay Dreams score comprised original as well as re-worked music from some of his Bollywood hits, the experience of working for The Lord of the Rings is unique, he continues. "With Bombay Dreams , I felt I was extending what I had been doing in Hindi and Tamil films," he says. "Here, I am creating something that isn't anywhere close to anything I have done so far."

There are also many things he has done for RDB that are new to him. For one thing, he says he had "the audacity, if you will" to join Lata Mangeshkar for a song. "The song has a long and complicated history," he says. "I felt, several times, that I was not going to have it in her voice, but I didn't want to give up."

When a song in which a soldier's mother is featured arose, he thought of a situation from one of his favourite films, the Tom Cruise-starring war drama Fourth Of July . "I kept thinking the song should be very different from the kind of mother-child songs we generally hear in our films," he continues. "At one point, I thought, how about getting the dead son to respond to the mother?" he remembers.

Mehra and lyricist Prasoon Joshi loved the idea, he continues. But, after many months, he heard that many others associated with the film had their reservations, wondering if such a song could work. "Then came the question of who would sing it," he adds. "I knew who would be singing it -- the mother of all singers, Lata ji ."

When the date for recording was fixed, Mangeshkar was ill. And months later, when a second date was being arranged, he heard that she had to attend an event organised by Yash Chopra. Rahman told her there would not be another opportunity for her to record the song. "I was also going abroad in a few days," he continues. "She made a big sacrifice and cancelled the event."

Rahman also revealed that, as per original plans, Mangeshkar had only a few lines. "But she was singing it so beautifully, and she had made this big effort to record it," he continues, "that we decided to expand her contribution."

Mangeshkar has sung just about half a dozen songs for Rahman. "But every time I have worked with her, I have felt we were doing something truly special." Besides, she has also paid him the "highest compliment," he says. "She told me she liked my version of Vande Mataram better than her own!" No one could pay him a better compliment, the composer adds.

The soundtrack of RDB also has several other lilting numbers, especially the Rubaroo item song by newcomer Naresh Iyer. Rahman had heard Naresh at a contest organised by Adnan Sami. He remembers that though Naresh did not win, he had left a strong impression on him. "I often tell myself that music is not a race," Rahman says. "And when Naresh lost by a few points, I said to myself that we should not let him go. I knew he was talented and wanted to give him an opportunity."

Rahman says he asked the 24-year old singer if he was prepared to come down from Mumbai to Chennai and stay put for several months. "I knew how serious he was when he turned up with his parents in no time," the composer adds. "They had got him to stay in a house near my studio, and brought him to me saying 'Now you are in charge of him.'"

Iyer was available for Rahman at any time, night or day. So much so that when Rahman was too tired to sing the Rubaroo number, he got it sung by his new protg. "I had planned to sing the song later," Rahman continues. "But Naresh had sung it so well, I decided to keep his version. That is why you hear me sing only a few lines with him."

Besides, he says laughing, he would not have  felt comfortable saying the words, Ai Salaa .

Now that RDB is behind him, Rahman says it will be many months before one gets another Hindi movie score from him. He is looking forward to working again with some of the producers and directors who understand him well, he adds, one of whom is Subhash Ghai. "I composed just one song (apart from the background music) for Kisna because of other engagements abroad," he says.

When Ghai was in New York a few months ago, he had said that he too was looking forward to working with Rahman, adding, "We challenge each other so much that there is always extraordinary music."

Rahman returns the compliment. "His passion for music is just great," he says.

Source:http://ia.rediff.com/movies/2006/jan/30rahman.htm?q=mbp& file=.htm

sweetdisha Senior Member
sweetdisha
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Joined: 15 March 2006
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Posted: 08 April 2006 at 11:03am | IP Logged

Mani Ratnam on Ilayaraja, Rehman

Not too many people in the world would have had the opportunity to work with two top music directors of the world - both Ilayaraja and A R Rehman. And not many would readily answer a question on how to rate the two, and who was better in comparison. This is a question that one would prefer to duck.

However, ace director Mani Ratnam was candid in his assessment of the two music directors, when fans and music buffs posed this question at Landmark where a collection of DVDs of his films was released.

"Both Ilayaraja and Rehman are fantastic music directors and I had the good fortune to work with two great music directors," Mani said.

"However, they are poles apart - perhaps very little in common," added the director. When he said they are worlds apart, someone wanted to know whether he was referring to Ilayaraja working in the day, and Rehman late at night. Mani laughed and said he was referring to their style of working.

In fact, initially he had go through a culture shock, when Rehman was signed up for 'Roja'. Ilayaraja, once he made up his mind, would not make too many changes. With Rehman, it was different. He would keep adding to the song.

However, Mani Ratnam, put Ilayaraja on a higher pedestal, and lavished praise on the maestro's re-recording, so important for a film. Ilayaraja would look at the scene once, and immediately start giving notes to his assistants, as a bunch of musicians, hovering around him, would collect the notes for their instrument and go to their places. When the orchestra played out the notes, they would be perfect, not just in harmony but also in timing - the background score would commence exactly where it should and end at the exact place required, pointed out Mani Ratnam, amidst applause. Ilayaraja was a genius, he said, who could compose music with just one look at the scene.

However, for a director, there was just one handicap. "Ilayaraja will listen to you as you explain the scene, and what he intends to convey. Once the film rolls, Ilayaraja's gaze will be on the screen and a few seconds later, papers would go to the musicians giving them the score, and then there would be no further changes. A director can be taken by surprise at the speed of events. If at all you want to convey anything to Ilayaraja, it must be before he watches the shot (before the background score is added) on to the screen," said Mani amidst both laughter and applause.

There were several questions flung at Mani on why music was important to him and why he needed songs in hs films. Mani said he couldn't imagine his films without music. "Music is an integral part of my films. If you look at 'Anjali', 'Mouna Ragam' or 'Thalapathi' without music, it would be a different experience for the viewers. Similarly, Rehman's songs have been a big contributing factor too. Howeer, we directors do have problems in providing for songs while we do the screenplay! The toughest thing is to break the story to provide a song. I would like to do away with songs, but everyone wants songs in an Indian film."

Looking at P C Sreeram, who was seated in the front row, "Among the few who have made films without songs is Sreeram, who provided Kuruthipunal," Mani said.

"I like listening to songs, even watching clips of songs on TV but the tough thing is to provide songs in films," he added.

R Rangaraj
Published on March 9 th , 2005

Source:http://www.chennaionline.com

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