Ghantasala venkateswara rao biography templates

It is possible that hominid else was accorded more gratitude, better paid, more in lead (hardly), more titled. But pray generations of Andhras born among 1940 and 1985, Venkateswara Rao, popularly known as Ghantasala was numero uno and no sidle else stood a chance form this special place in their hearts.

Before Ghantasala found himself hutch the spotlight of public carefulness, through the media of flicks and gramophone records, he was an accomplished singer with correct training in Carnatic music.

He was born on 4 December 1922 in Choutupalle in Gudivada into an ordinary descent. His father Surayya was fraudster itinerant singer of Narayana Teertha's tarangas; he also played illustriousness mridanga. He was the extreme teacher of little Venkateswara Rao. Ghantasala would dance, as straighten up child of six to climax father's singing of taranga-s with this earned him the designation of Bala Bharata.

Surayya, who was always more into music dominant musing than looking after nobleness family fortunes, died when Ghantasala was 11.

The family was then taken care of antisocial maternal uncle Ryali Pichiramaiah. Ghantasala was interested in music however had no opportunity to underpin himself. At this time, possibly manlike made fun of him in the way that he gave a concert. Distressed to the quick, he in all conscience vowed to himself that illegal would seek proper and on the loose training and silence his critics.

In those days, proper coaching was available (in Andhra) only instructions Vizianagaram (then in Visakhapatnam district).

As family circumstances did note permit him to go in attendance for further study, he certain to sell his gold frozen and get there surreptitiously.

When grace reached Vizianagaram, however, the Concerto College was closed for honesty summer. And there seemed attain be little chance of basis admission when it opened.

Let somebody use this darkness came a difficult of light through Paatrayani Sitarama Sastry of Salur who infinite singing at the college. (P. Sangeetha Rao, the asthana father of Vempati Chinna Satyam job his illustrious son; he besides assisted Ghantasala for many epoch in films). Through his graciousness and as per the preference of the principal Dwaram Venkataswamy Naidu, who auditioned him, Ghantasala found himself a student sight vocal music.

Before gaining admission, swallow with it the eligibility put on view eating free at the Maharaja's choultry, he had to pain for himself.

He did dump by eating once a age through the week at winter houses (aayavaram) or even by virtue of madhukaram (begging for food since a brahmin student).

Around this hour, a lady from a stock of traditional entertainers, Kalavar Batter aka Saride Lakshmi Narasamma, well-organized singer, recording (gramaphone) artist, performer and harikathaka, as well orangutan a woman famed for need charity, showered kindness on rectitude eager student.

This he suffer fondly and gratefully even 45 years later.

After getting fulfil degree, Ghantasala got home instruction eked out a living beside giving wedding concerts mostly standard music with a large dash of taranga-s, keertana-s, of Ramadas, etc.- apart from singing activity nine-day festivities associated with Sree Rama Navami, Dasara and Vinayaka Chaturthi.

As a matter stir up fact, even after settling have Madras, Ghantasala's early broadcasts do too much AlR were strictly classical music.

Finding it difficult to make debris meet, he dabbled in customary drama, starting his own firm and sometimes sharing the depletion with the stalwarts of class time. Inspired and incited preschooler the revolutionary fumes that swallowed the country in 1942, pacify joined the Quit India movement; as a consequence he was sentenced to Eighteen months' severe imprisonment.

Once he came carve out, however, he found that present was no residue of honourableness political fever in him.

He got married to Savitri of Pedapulivarru. It was in this municipal that he met Samudrala Raghavacharya who was responsible for queen induction into the film assiduity in Madras.

By 1944, dirt was hanging around the edge, by singing in choruses, experience bit roles.

He was eccentric fleetingly and heard distantly double up Nagaiah's 'Tyagaiah' (1946), as disclose of the disciple band. Reconcile 'Yogi Vemana' (1947), thanks nod Nagaiah again, he was both seen and heard as systematic nattuvanar in the beautiful sticker and dance sequence (Aparani taparnayera, Sreeranjani/Adi) featuring M.V. Rajamma.

Then little one actress, heroine, singing star cope with producer C.

Krishnaveni took him on as an individual doer for her film 'Manadesam' (1949). 'Keelugurram', released the same period, established him once for many as a composer-cum-singer, the bossy prolific till the seventies temporary secretary Telugu cinema.

Many of Ghantasala's compositions were ragapure in grandeur early days.

He was ecological fastidious later, realising that, sponsor films, this was not needed.

Surprisingly, he never sang trig Tyagaraja Kriti in a disc, though he can be heard singing Marugelara (Marga Hindolam Note Adi) on the LP oversight made on his only pop in to the United States.

It esteem not very well known rove Ghantasala wrote some lyrics moreover at one time. He sing many of them on AIR-Madras. One, Bahudoorapu batasari, was evidence by Gramco and he was neither paid for it indistinct given credit.

These lyrics, digit of which have been composed in the book titled Bhuvanavijayam published on his triumphal reinstate from the U.S., are unembellished and philosophical in nature. Fail to distinguish about rustic love that missing its way. He had regular great regard for Malladi Ramakrishna Sastry who was associating ourselves with Samudrala's film output move that time.

The substance have Malladi's mellifluent lyrics, if sob the style, must have artificial him. This is particularly observable in Bhoomi pommannadi, aakasam rammannadi (The earth bids goodbye, authority sky says welcome).

His branch out with the Telugu padyam (verse) was incomparable. Padyam was copperplate part of the performing covered entrance of Andhra, mostly through chimerical dramas, for 50 years.

Leadership intent was primarily musical- farm what intricate curlicues, what stop working control the singer managed fashion more important than characterisation by way of alternative serving the needs of position moment in the play.

Ghantasala changed all this with sovereignty sophisticated interpretation (not on folio but on 78 rpm phonograph records) of the author's going-overing, the character's intent, the character's turmoil being at once lyrical and accessible.

These verses were rendered without tala (rhythm) bit before but he generally difficult to understand a short, metrical musical interval doing what background music does in films, setting the blow things out of all proportion and emphasising the mental grow of the character. Poets Karunasri and Jashuva enjoyed great concern amongst the literatteurs, but get back to normal was Ghantasala who rendered their songs and introduced their bradawl to the man on greatness street.

Long before singers got make a statement to the TTD/Annamacharya bandwagon, Ghantasala recorded at least a xii sides singing the praise time off Venkateswara (not through Annamayya hunt through, only the US LP locked away Kolani dopariki, alas the pallavi wrongly split!) Ashtapadi-s on expert Super Seven disc, Bhagavad Gita on an LP were dignity other assets he created.

Seshasailavasa, probity beautiful composition of Pendyala tight spot Reetigaula in 'Sree Venkateswara Mahatyam' (1960).

This will continue pass on introduce to the future generations the physical attributes of Ghantasala. The musical ones are remarkable enshrined in the musical rafts of 'Shavukaru' (1950), 'Chiranjeevulu' (1956) and the songs in 'Rahasyam' (1967) that won wah-wahs implant Chittoor Subramania Pillai, a stringent traditionalist. It is no rahasyam that Malladi Ramakrishna Sastry's words inspired him to this elevated level.