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WHAT THE EXPERTS SAY

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HINDUSTANI SANGEETH KALAKARA MANDALI concert: BANGALORE

The spontaneous aspect of his simple, open and uninhibited presentation kept the melodic continuity intact. His soothing voice and good knowledge made his brilliant `Tans , Sargams' a pleasure to listen to.

The Hindu, September 29, 1989

NATIONAL CENTER FOR PERFORMING ARTS-Bombay:

Each of the ragas presented was a gem of the purest luster, a shining example of sincere gayaki.....An uninhibited artiste whose art has not been polluted as yet by the lure of the metropolitan lucre....... 

-SUMIT SAVUR, Indian Express, Bombay, December 27 1991.

SAWAI GANDHARWA music festival - Pune

His pleasing voice, in its systematic exposition, revealed the rich knowledge gained under his guru, the late Pt. Basavaraj Rajguru......

- Vinay Kelkar, Kesari, Pune, December26, 1993

Exquisite `alap' singing in Shri . Hegde's `Vilambit Khayal' enhanced his music.....His singing revealed the rich beauty of swaras and his taans were forceful and pure in their rendering......

- Ashok Ranade, Sakaal, December 26, 1993

KALA BHARATI inaugural concert : Bombay

The three raga offerings showed  his thorough grounding in the Khayal technique, at times reminiscent of his guru's vocalism.......the most abiding impact came from the (raga) "Shankara" as the artiste could capture and project its colourful, aggressive character as few else could......

- Mohan Nadkarni , The Times Of India, Bombay, March 17, 1994

`RAAG MILAN CONCERT' - Mysore

The range of Hegde's voice (sargams traversing three octaves with delicate care and touching the upper dhaivata to offer a glimpse of the universe) , sweep of his imagination, versatility in handling akaar, taans, and total sublimation to Naada Rasaabdhi reminded one of  "Naabhi Hritkanta Rasana" appearing in Tyagaraja's "Shobhillu Sapthaswara" (Jagmohini).

- G.T.Narayana Rao, The Hindu, Bangalore, October 10, 1997

"SWAROTSAV MUSIC FESTIVAL" - NAGPUR

It was Parameswar Hegde, who gave a scintillating performance with his masterly rendition of the "Raag Puriya Kalyan".It was studded with superb layakari and tihais. The taans were well structured and his rendition of the drut followed by his pulsating exposition of the "Raag Haunsa Dhwani" left no doubt in one's mind about the bright future the artiste has.

- Nandan Andhare, The Hitavada, October 23, 1997

 


Hegdeji with renowned musician Pt. VishwaMohan Bhat.

Hegdeji alongside his guru & mentor-Pt.Basavaraj Rajguru

Hegdeji performing in Thane
HOUSE CONCERT- FREE HOLD, NEW JERSEY
Pt.Hegde's music is marked by restraint and sensitivity. He is unhurried in his approach and stays away form mannerisms some younger musicians are apt to employ to win instant accolades from the listeners.....
He started the concert with Rageshri-Bahar, a rather unusual combination, Employing the ascending notes of  Rageshri and the descending notes of Bahar.The result was indeed very interesting as the joyous notes of bahar acted as a counterpoint to the rather plaintive notes of Ragesri.As one discerning felt, the tension and anguish built up by Rageshri were relieved as it were by the succeeding notes of Bahar, creating a very dramatic effort.

-H.Y.RAJGOPAL via e-mail

 


Hegdeji performing in Sangeeth Kalakara Mandali(Bangalore)
PANDIT PARAMESHWAR HEGDE IN MONTREAL
He stuns his audience with alterations of daring bursts and subtle inflections, but one trait Pt.Parameshwar Hegde's awesome voice control cannot temper is the honeyed melody that comes with his singing, like the signal fragrance of jasmine.

-JOONED KHAN Foreign Editor LA PRESSE