Madras Lalithangi Vasanthakumari, popularly referred to as MLV (3 July 1928 – 31 October 1990), was an Indian Carnatic musician[1] and playback singer for films in several South Asian languages. She and her contemporaries, D. K. Pattammal and M. S. Subbulakshmi, are often referred to as the female trinity of Carnatic music.[2] A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era and the youngest female to receive the Sangita Kalanidhi award.[3] In 1967, the government of India honored her with the Padma Bhushan, the third-highest civilian award. Her daughter, the late Srividya, was an actress in Tamil and Malayalam films.
As well as being a sought-after playback singer for films, Vasanthakumari popularized unfamiliar ragas, and her RTPs were regarded as cerebral.[4] Additionally, she popularized the compositions of the Haridasas. Her disciples include her daughter Srividya, Sudha Raghunathan, Charumathi Ramachandran, and A. Kanyakumari.[5]
Vasanthakumari was born into a musical family. Her father, Kuthanur Ayya Swamy Iyer, and her mother, Lalithangi, were musicians.[6] When Deshbandhu Chittaranjan Das died in 1925, Lalithangi composed a song as a tribute to his patriotism.
Vasanthakumari received her school education in Madras, currently known as Chennai, through a convent school, where she initially planned to pursue a career in medicine. However, her path took a turn when Carnatic musician G. N. Balasubramaniam, popularly known as GNB, became her guru. In her own words:
"My parents had rendered yeoman service to Carnatic music. They were instrumental in popularizing the compositions of Purandara Dasa in South India. Although they were not keen on my pursuing a career in music and instead provided me with a general education, the musical atmosphere at home gave me ample opportunity to practice vocal music. When G. N. Balasubramaniam heard me sing, he convinced my parents to allow him to tutor me. It is he who is responsible for the position I hold in the music world today."[citation needed]
At the age of 12, Vasanthakumari made her debut in 1940 by accompanying her mother at a recital. Two years later, she performed a solo recital in Bengaluru. She also recorded her first 78-rpm disc. From then on, her career progressed rapidly as a stage artist, and by 1950, she had established herself as a leading performer.[citation needed]
Vasanthakumari was inspired by Balasubramaniam's style early in her career.[7] Indira Menon commented, "MLV did adopt her Guru's idea of a quick impressionistic sketch of the raga covering the two octaves at the start, but settled down to a reposeful elaboration, unfolding it gradually with her virtuosity in the form of BRIGA-CASCADES appearing only where necessary. She was careful not to carry to excess what her versatile voice was capable of."
Balasubramaniam cited, "Vasanthi typifies real discipleship—she absorbs all but presents her own glorious creations."[8]
Lalithangi, Vasanthakumari's mother, had a vast repertoire of Purandaradasa kritis. She passed on this tradition to her daughter, Vasanthakumari. As a result, like T. Brinda, who brought Kshetrayya Padams to the public platform, and M. S. Subbalakshmi, who brought Annamacharya kritis to the public arena, Vasanthakumari popularized the Devaranamas of Purandaradasa.[citation needed]
Vasanthakumari helped spread the compositions of Narayana Teertha's 'Kalyana Gopalam' and Purandaradasa's 'Venkatachala Nilayam' in Sindhubhairavi raga. Hindustani maestro Bade Ghulam Ali Khan generously praised her for her music. Sudha Raghunathan mentioned, "MLV Amma has told me that it was Bade Ghulam Ali Khan Saab who taught her the nuances of Sindhu Bhairavi in the Hindustani style."[4]
By 1946, Vasanthakumari was also a playback singer.[4] Her first big hit was in the 1951 film Manamagal, where she sang the song Ellam Inbamayam in Ragamalika and Subramania Bharathiyar's composition, Chinnanchiru Kiliyae Kannamma. In the 1960 film Raja Desingu, she sang another Ragamalika, Paarkadal Alaimele, which was well received and later became popular in Bharatanatyam recitals. In later years, she would also sing these songs towards the end of her Carnatic music concerts, where, today, many musicians include them in their repertoire.[9]
Vasanthakumari also sang Ayya Saami in the 1951 film, Or Iravu. This song was based on the song Gore Gore O Banke Chhore from the film, Samaadhi, which was in turn based on the Latin American song Chico Chico from Puerto Rico from the film, Cuban Pete. In the 1952 film, Thai Ullam, she sang Konjum Purave, which was based on the famous Hindi song Thandi Havayen.[9] Other songs she sang included Adisayam Vanathu Arivumayam, Senthamarai Kannanae, Vanna Tamizh, and Adum Arul Jothi in the films Vikramaadhithan, Vaira Maalai, and Sornakili. Incidentally, each of these songs contained the Kalyani raga and were also well received.[9]
Vasanthakumari sang the Dashaavataara songs for Bhookailas like Munneeta Pavalinchu, while Kumari Kamala danced in a classical style.[10] She sang for films until 1970.[citation needed]
Mridangam maestro Palghat Mani Iyer made an exception to the decision he had made early in his career not to accompany a female performer and accompanied her to concerts. Vasanthakumari helped others, including Mannargudi Easwaran, Srimushnam V. Raja Rao, Seerkazhi J. Skandaprasad, Thiruvarur Bakthavathsalam, R. Ramesh, Karaikudi Krishnamurthy, G. Harishankar (kanjira), Dwaram Mangathayaru (violin), Kannyakumari (violin), and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.[citation needed]
Vasanthakumari married Kalaimamani Vikatam R. Krishnamurthy in 1951. They had a son, Krishnamurthy Sankararaman, and a daughter, Srividya.[citation needed]
Saraswathi Srinivasan (b. 1936) was the first disciple of Vasanthakumari. After her marriage, the two jointly performed in concerts.[11]
She died in 1990 at the age of 62 from cancer and was stoic about the suffering she faced in the last year of her life.[12]
She was a much sought-after playback singer from the late 1940s until the mid-1960s.[citation needed]
She worked under C. R. Subbaraman, S. M. Subbaiah Naidu, G. Ramanathan, S. Dakshinamurthi, K. V. Mahadevan, Vedha, V. Nagayya, Pendyala Nageshwara Rao, T. Chalapathi Rao, Viswanathan–Ramamoorthy, S. Rajeswara Rao, R. Sudarsanam, R. Govardhanam, T. R. Pappa, S. V. Venkatraman, Kunnakudi Venkatrama Iyer, G. Aswathama, T. A. Kalyanam, M. S. Gnanamani, C. N. Pandurangan, C. S. Jayaraman, G. Govindarajulu Naidu, T. G. Lingappa, K. G. Moorthy, Ghantasala, Master Venu, G. Aswathama, V. Dakshinamoorthy, G. Devarajan, K. Raghavan and Shankar–Jaikishan.
She sang duets mostly with Thiruchi Loganathan, Seerkazhi Govindarajan and A. M. Rajah. Others are M. K. Thyagaraja Bhagavathar, V. N. Sundaram, T. R. Mahalingam, T. A. Mothi, C. R. Subburaman, C. S. Jayaraman, Ghantasala, G. K. Venkatesh, T. M. Soundararajan, P. B. Sreenivas, K. S. George, V. Dakshinamoorthy, and K. J. Yesudas.
She also sang duets with female singers, most notably with P. Leela & N. L. Ganasaraswathi. Others are A. P. Komala, T. S. Bagavathi, Soolamangalam Rajalakshmi, Jikki, T. V. Rathnam, Radha Jayalakshmi, P. A. Periyanayaki, P. Bhanumathi, K. Jamuna Rani and A. G. Rathnamala.