Ghantasala Venkateswara Rao (
Telugu: ఘంటసాల వెంకటేశ్వర రావు) (1922–1974) was a famous & popular
South Indian singer and music composer of
Telugu films and many other languages such as Tamil, Kannada, Malayalam, Tulu and Hindi. He is the recipient of the
Padmashree award, India's fourth highest civilian award. For nearly a quarter of a century,(3 decades) he was the voice of Telugu films. He was one of Telugu cinema's first playback singers. He sang in Telugu, Tamil, Kannada, Malayalam, Tulu and Hindi. He composed music for more than 100 movies. He sang the
Bhagavad Gita just before his death in 1974, a rendition which became highly popular. On February 11, 2003, a stamp was released in honor of Ghantasala at Telugu Lalita Kala Toranam, Public Gardens,
Hyderabad.
Ghantasala was born to Soorayya, who was a local singer, in a traditional
Telugu Brahmin Niyogi family in 1922. During his childhood, Ghantasala used to dance to his father's Tarangams. He lost his father when he was a child, and was brought up by his maternal uncle Ryali Pitchi Ramaiah. He took formal music training from
Patrayani Sitarama Sastry, also known as
Saluru China Guruvu Garu, and he joined
Maharajah's Government College of Music and Dance in
Vijayanagram without informing his family. He went through a number of hardships to learn music and went on to become a "Sangeeta Vidhwan
Ghantasala participated in the
Quit India Movement of 1942, for which he was arrested and imprisoned for 18 months at the Alipore (Allipura) Jail,
Bellary.
[1] After coming out of jail, he met "
Senior Samudrala", who advised him to try his luck in the film industry as a singer.
[2] Upon release from prison, he got married to Savitri of Pedapulivarru. It was in this village that he met Samudrala Raghavacharya, who inducted him into the film industry in Madras.Before Ghantasala found himself in the spotlight of public attention, through the media of films and gramophone records, he was an accomplished singer with impeccable training in Carnatic music
Ghantasala got his first break as a singer from
All India Radio. Later on, Peketi Siva Ram from HMV studios recorded his private songs. Ghantasala debuted as a chorus singer and for a character role in
Seeta Rama Jananam by Pratibha Films. After this, he worked with famous music directors like Gali Penchala and C. R. Subbaraman. His first movie as a music director was
Laxmamma. He introduced the technique of changing the voice pitch and diction to suit the actor singing the songs on the screen. People were so enamoured by this that they started imagining the actor singing on the screen. He was considered a master of padyam renderings, a unique genre in the Telugu films.
His way with the Telugu padyam (verse) was incomparable. Padyam was a part of the performing arts of Andhra, mostly through mythological dramas, for 50 years. The intent was primarily musical- with what intricate curlicues, what breath control the singer managed being more important than characterisation or serving the needs of the moment in the play. Ghantasala changed all this with his sophisticated interpretation (not on stage but on 78 rpm gramophone records) of the author's intent, the character's intent, the character's turmoil being at once musical and accessible. These verses were rendered without tala (rhythm) as before but he generally had a short, metrical musical interlude doing what background music does in films, setting the stage and emphasising the mental stage of the character. Poets Karunasri and Jashuva enjoyed great regard amongst the literatteurs, but it was Ghantasala who rendered their songs and introduced their work to the man on the street.Long before singers got on to the TTD/Annamacharya bandwagon, Ghantasala recorded at least a dozen sides singing the praise of Venkateswara (not through Annamayya though, only the US LP had Kolani dopariki, alas the pallavi wrongly split!) Ashtapadi-s on a Super Seven disc, Bhagavad Gita on an LP were the other assets he created.
[3]
Producer
Krishnaveni gave him first chance as full music director for her film
Mana Desam, which incidentally was
N. T. Rama Rao's first film & which established him once for all as a composer-cum-singer, the most prolific till the mid seventies in Telugu cinema.
He later composed music for many popular Telugu movies like
Patala Bhairavi, Gundamma Katha, Paramanandayya Shishyula Katha, Pelli Chesi Chudu, Mayabazar and
Lava Kusa. He lent his voice to many popular heroes of the Telugu film industry at that time and has sung over 10,000 songs in Telugu, Tamil & kannada films - each being as melodious as the other.
He also served as the
Aaasthana Gaayaka (court musician) for the
Tirumala Tirupati Devasthanams. The famous & much acclaimed renderings of Ghantasala Venkateswara Rao include private albums, like Bhagawad Gita, Patriotic Songs, Padyalu (a unique genre of Telugu - singing the verses in dramatic style),
Pushpa Vilapam and folk songs. His recording of "Bhagawad Gita" can now be heard daily in the Tirumala temple.
Gifted with what V. A. K. Ranga Rao called "the most majestic voice", he helped Telugu film music develop its own distinct character. He won the "best singer award" in the Telugu film industry every year for three decades, a feat perhaps unachieved by any other playback singer.
[4]
The southern film industry in terms of film musical contribution rose to such popularity and fame, in the 1950's and 60's, a state which was never witnessed before and it was the "reverberating and fascinating voice of Ghantasala" which enabled many south indian films to embrace such huge popularity and fame.
[5]
He has given performances in
America, England, and Germany, and had the distinction of performing for the
United Nations Organisation. The government of
Andhra Pradesh felicitated him on the occasion of 25 years of his film career as
Silver Jubilee Celebrations of Ghantasala in
Hyderabad on February 1, 1970. More than 30,000 people attended the function celebrated at the Lal Bahadur Stadium,
Hyderabad.
[6]
His illustrious & successful career came to end on 11 February 1974, the day he passed away.
On the occasion of function for stamp release in his name on 11 February 2003, "The Hindu" carried a article showering praise on him as the "Melody king - reigns supreme" & as well highlighting his genius skills - "Ghantasala's blending of classical improvisations to the art of light music combined with his virtuosity and sensitivity puts him a class apart, above all others in the field". Ghantasala has such divine talent, that with his songs, he could move the hearts of the people. Human emotions and music were never in such perfect harmony as was during his reign as playback singer. Even after three decades of his demise, he continues to hold sway over millions of music lovers, crossing generation barriers, with the mellifluous magic spell of his golden voice. Ghantasala Venkateswara Rao strode like a colossus in the Telugu film music world for nearly 30 years and his contribution to Telugu film music remains unparalleled. He is the first movie singer-composer of the South in whose memory a stamp and first day cover was released in 2003. Noted music Director Illayaraja stated that Ghantasala is the only singer who can give a guarantee that all the songs in a film would be hit.
[7]
The Indian express dt. 14 February 1974 paid a glorious tribute to ghantasala on his death stating that : Tributes paid to Ghantasala Venkateswara Rao, on his death, praise his "Melodious Voice", but these not only sound inadequate, but also fail to grasp the truth of the matter, since he was "no mere singer" but a "true poet" who could comprehend and did give expression to the deepest feelings of love, pity, joy, suffering, piety, happiness and bitterness in a manner no one else could, or did. One cannot help feeling that it would have been hardly possible for him to sing on all those varied themes with such intensity of fervor and likeness to reality, and precision in apprehension, had he not himself lived and experienced these basic emotions inwardly, in as great a manner as any of the great poets ever had.
[8]
The Legendary Ghantasala continues to be as popular as ever. His statutes have been installed across Andhra Pradesh. No other cine/film singer enjoys such honour. Every year his birth/death anniversaries are celebrated with great importance, in Andhra pradesh, India as well as overseas countries
[9][10][11][12]
Various Awards after his name are given every year to various musical artists viz., "Ghantasala melody king award" - Popular artists who are recipients of this award include K J Yesudas, Playback singer ; P Suseela, playback singer, Indian Idol Sri Ramachandra etc.
[11][13][14]
Ghantasala Arts Academy has instituted the "Ghantasala National Award" and the first award was given to S P Balasubrahmanyam, playback singer
[15]
It is possible that someone else was accorded more recognition, better paid, more in demand (hardly), more titled. But for generations of Andhras born between 1940 and 1985, Venkateswara Rao, popularly known as Ghantasala was numero uno and no one else stood a chance for this special place in their hearts.
Before Ghantasala found himself in the spotlight of public attention, through the media of films and gramophone records, he was an accomplished singer with impeccable training in Carnatic music.
He was born on 4 December 1922 in Choutupalle near Gudivada into an ordinary family. His father Surayya was an itinerant singer of Narayana Teertha's tarangas; he also played the mridanga. He was the first teacher of little Venkateswara Rao. Ghantasala would dance, as a child of six to his father's singing of taranga-s and this earned him the title of Bala Bharata.
Surayya, who was always more into music and musing than looking after the family fortunes, died when Ghantasala was 11. The family was then taken care of by maternal uncle Ryali Pichiramaiah. Ghantasala was interested in music but had no opportunity to improve himself. At this time, someone made fun of him when he gave a concert. Stung to the quick, he solemnly vowed to himself that he would seek proper and systematic training and silence his critics.
In those days, proper coaching was available (in Andhra) only in Vizianagaram (then in Visakhapatnam district). As family circumstances did not permit him to go there for further study, he decided to sell his gold ring and get there surreptitiously.
When he reached Vizianagaram, however, the Music College was closed for the summer. And there seemed to be little chance of getting admission when it opened. Into this darkness came a ray of light through Paatrayani Sitarama Sastry of Salur who taught singing at the college. (P. Sangeetha Rao, the asthana composer of Vempati Chinna Satyam is his illustrious son; he also assisted Ghantasala for many years in films). Through his kindness and as per the decision of the principal Dwaram Venkataswamy Naidu, who auditioned him, Ghantasala found himself a student of vocal music.
Before gaining admission, and with it the eligibility for eating free at the Maharaja's choultry, he had to fend for himself. He did that by eating once a day through the week at different houses (aayavaram) or even by madhukaram (begging for food as a brahmin student).
Around this time, a lady from a family of traditional entertainers, Kalavar Ring aka Saride Lakshmi Narasamma, a singer, recording (gramaphone) artist, dancer and harikathaka, as well as a woman famed for her charity, showered kindness on the eager student. This he recalled fondly and gratefully even 45 years later.
After getting his degree, Ghantasala got home and eked out a living by giving wedding concerts mostly classical music with a large sprinkling of taranga-s, keertana-s, of Ramadas, etc.- apart from singing at nine-day festivities associated with Sree Rama Navami, Dasara and Vinayaka Chaturthi. As a matter of fact, even after settling in Madras, Ghantasala's early broadcasts from AlR were strictly classical music.
Finding it difficult to make ends meet, he dabbled in traditional drama, starting his own company and sometimes sharing the stage with the stalwarts of the time. Inspired and incited by the revolutionary fumes that enveloped the country in 1942, he joined the Quit India movement; as a consequence he was sentenced to Eighteen months' rigorous imprisonment. Once he came out, however, he found that there was no residue of the political fever in him.
He got married to Savitri of Pedapulivarru. It was in this village that he met Samudrala Raghavacharya who was responsible for his induction into the film industry in Madras.
By 1944, he was hanging around the periphery, by singing in choruses, doing bit roles. He was seen fleetingly and heard distantly in Nagaiah's 'Tyagaiah' (1946), as part of the disciple band. In 'Yogi Vemana' (1947), thanks to Nagaiah again, he was both seen and heard as a nattuvanar in the beautiful song and dance sequence (Aparani taparnayera, Sreeranjani/Adi) featuring M.V. Rajamma.
Then child actress, heroine, singing star and producer C. Krishnaveni took him on as an individual composer for her film 'Manadesam' (1949). 'Keelugurram', released the same year, established him once for all as a composer-cum-singer, the most prolific till the seventies in Telugu cinema.
Many of Ghantasala's compositions were ragapure in the early days. He was less fastidious later, realising that, for films, this was not necessary. Surprisingly, he never sang a Tyagaraja Kriti in a film, though he can be heard singing Marugelara (Marga Hindolam / Adi) on the LP he made on his only visit to the United States.
It is not very well known that Ghantasala wrote some lyrics too at one time. He sang many of them on AIR-Madras. One, Bahudoorapu batasari, was recorded by Gramco and he was neither paid for it nor given credit. These lyrics, seven of which have been collected in the book titled Bhuvanavijayam published on his triumphal return from the U.S., are simple and philosophical in nature. Or about rustic love that lost its way. He had a great regard for Malladi Ramakrishna Sastry who was associating himself with Samudrala's film output at that time. The substance of Malladi's mellifluent lyrics, if not the style, must have influenced him. This is particularly discernible in Bhoomi pommannadi, aakasam rammannadi (The earth bids goodbye, the sky says welcome).
His way with the Telugu padyam (verse) was incomparable. Padyam was a part of the performing arts of Andhra, mostly through mythological dramas, for 50 years. The intent was primarily musical- with what intricate curlicues, what breath control the singer managed being more important than characterisation or serving the needs of the moment in the play.
Ghantasala changed all this with his sophisticated interpretation (not on stage but on 78 rpm gramophone records) of the author's intent, the character's intent, the character's turmoil being at once musical and accessible. These verses were rendered without tala (rhythm) as before but he generally had a short, metrical musical interlude doing what background music does in films, setting the stage and emphasising the mental stage of the character. Poets Karunasri and Jashuva enjoyed great regard amongst the literatteurs, but it was Ghantasala who rendered their songs and introduced their work to the man on the street.
Long before singers got on to the TTD/Annamacharya bandwagon, Ghantasala recorded at least a dozen sides singing the praise of Venkateswara (not through Annamayya though, only the US LP had Kolani dopariki, alas the pallavi wrongly split!) Ashtapadi-s on a Super Seven disc, Bhagavad Gita on an LP were the other assets he created.
Seshasailavasa, the beautiful composition of Pendyala in Reetigaula in 'Sree Venkateswara Mahatyam' (1960). This will continue to introduce to the future generations the physical attributes of Ghantasala. The musical ones are forever enshrined in the musical scores of 'Shavukaru' (1950), 'Chiranjeevulu' (1956) and the songs in 'Rahasyam' (1967) that won wah-wahs from Chittoor Subramania Pillai, a strict traditionalist. It is no rahasyam that Malladi Ramakrishna Sastry's lyrics inspired him to this sublime
IT IS HIGH TIME THAT HIS WORKS MUST BE PRESERVED. IT IS UNFORTUNATE THAT MOST OF THE SONGS EITHER THEY ARE NOT AVAILABLE OR CONCENTRATED WITH FEW PEOPLE.
GOOD THE SAREGAMA IS BRINGING OUT MP3 VERSIONS. BUT WE TELUGU ARE VERY POOR IN PRESERVING THE PAST HERITAGE. WE DO NOT KNOW THE VALUE OF IT.
