Prahalada bhakthi vijayam

[sam]

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FIRST ANGAM:
At the outset, SrI rAmacandra mUrti, vigneswara, saraswati are saluted.
Next,
guru nAradar, tuLasi dAsar, purandara dAsar, rAma dAsar, pANDurangar, nAma
devar, jn~Ana devar, jaya devar, tukkArAm, nArAyaNa tIrthar and other
daasAs of the Lord are eulogized.
Next vinAyakar arrives. The gatekeeper arrives at the same time singing the
praise of vAsudevan. The dialog between the stage manager and the gatekeeper at SrI vaikuNTham reviews the happenings until then in the life of prahlAdan.

The gist is: prahlAdan bound by poisonous snakes is thrown into the ocean on
command from the angry hiraNya kaSipu, the father of prahlAdan
.
The king of the oceans welcomes prahlAda and takes him to His home. He invites garuDan to chase away the poisonous snakes.
Once garuDan arrives, the poison from the
snakes does not affect prahlAdan.
Now prahlAdan prays to the samudra rAjan
and asks Him to instruct him on the upAyam (means)
for reaching hari.
samudra rAjan asks prahlAdan to eulogize hari.

SECOND ANGAM:
prahlAdan praises the kalyANa guNams of hari.
Sage nAradA arrives now from SrI vaikuNTham.
He describes the vaibhavam of SrIman nArAyaNan at SrI vaikuNTham in a
cUrNikai. Next He describes the dialog (samvAdam)
between lakshmi and hari at SrI vaikuNTham.
In their dialog, hari bound by the love of prahlAdan wishes
to arrive at bhU lokam and lakshmi tries to stop that journey
and hari pacifies Her and starts on His journey to meet His bhaktan.

THIRD ANGAM:
At bhU lokam, prahlAdan sings with sorrow:
"What is the use of
the eyes, which do not have the bhAgyam of seeing hari? What is the use of the hands that do not perform arcanai of hari with flowers? What is the use of the tongue that does not sing about the glories of hari?".
He faints over the non-appearance of hari and
now hari comes before prahlAdan, lifts him up and embraces him
fondly.
prahlAdan experiences the bliss of union with hari and sings:
"E nATi nOmu phalamu?" in bhairavi rAga kriti.
(What penance I must have done to gain
the darSanam of hari?).

FOURTH ANGAM:
hari now looks at prahlAdan and
asks him to seek any boon that he desires and
that HE (hari) would grant them.
prahlAdan responds:
"Oh Lord! When the karpaka tree is in front, what is the need for dried up stalks from the harvested field ? I
t is only fools who will seek such boons.
aDiyEn does not need any boons.
aDiyEn longs only Your pAda sevanam.
aDiyEn wishes to attain tanmayatvam through
dhyAnam about You".
hari is immensely pleased with the
vairAgyam and bhakti of the child
and praises those blessed qualities.

FIFTH ANGAM:

After this dialog, hari returns to SrI vaikuNTham
and
prahlAdan sinks into inconsolable ocean of sorrow
over the loss of hari from his side.
He condemns his durbhAgyam
. hari and lakshmi return now and bless him
. prahlAdan is immersed in Ananda sAgaram and
invites hari with joy to his home.

brahmA,indran, sages, nAradar, samudra rAjan
and others arrive to witness
this joyous scene.
sUryan arises

[sam]

1959 -
Tyagaraja's Prahlada Bhakti Vijayam
- AIR Vijayawada -
Produced by
M Balamuralikrishna"

https://youtu.be/jSLaxV8Poqw?si=cYlxPcq6Bbg4-r0i

Pinned by @SreenivasaMurthy
@SreenivasaMurthy

List of compositions and singers

1. shrI gaNapatini - saurAsTra - Adi - Chorus
2. vAsudEva eni - kalyANi - Adi - Chorus
3. sAgarundun veDele - yamunAkalyANi - rUpaka - Chorus
4. vinatAsuta rA rA - husEni - Adi -M Balamuralikrishna
5. vishNu vAhanuDu - shankarAbharaNa - rUpaka - Chorus
6. vAridhi nIku - tODi - chApu -
AP Komala
7. Vacchunu hari - kalyANi - Adi - M Balamuralikrishna
8. Vandanamu - shahana - Adi -
AP Komala
9. nAradamuni - pantuvarALi - chApu - Chorus
10. ennaga manasuku - nIlAmbari - Adi -
AP Komala
11. Entanuchu - saurAsTra - chApu - Chorus
12. EnATi nOmu phalamO - bhairavi - Adi -
AP Komala
13. aDugu varamula - Arabhi - chApu - MV Ramana Murthy
14. Nannu vaDahi - rItigaula - chApu -
AP Komala
15. adunDaka nE vEga - pantuvarALi - tripuTa -
AP Komala
16. rAra mAyinTidAka - asAvEri - Adi -
AP Komala
17. Kamala bhavuDu - kalyANi - chApu - Chorus
18. dorakunA yani - tODi - rUpakam - Chorus
19. challarE - Ahiri - tripuTa - Chorus
20. nI nAma rUpamulaku - saurAsTra - Adi - Chorus

Please see next post also.

[sam]

Introduction to 1959 AIR Vijayawada PBV

Saint Tyāgarāja’s PBV is modelled on the same plan as the Nātakas of the Bhāgavata tradition with descriptive songs, dialogue-songs, introductory verses, and prose-passages.
Mangalampalli Balamuralikrishna (BMK) is the producer of this musical and has chosen 20 songs from a total of 45 from the original works for a 1H 15 Min programme. AIR Vijayawada aired this on 19th January 1959 for the first time.

The AIR team of artistes:
Voleti Venkateshwarulu leads the role of ‘Sūtradhāra’ – the narrator and sings many verses and prose passages.
A P Komala (as Prahlāda) BMK (as Samudra, the lord of the sea) M V Ramana Murthy (as Mahāvishnu) and
V B Lakshmi (as Mahālakshmi) are in the lead roles.
The other singers in the chorus are Duluri J Arundati, S Gopalarathnam, NCV Jaganathacharyulu and D Pandurangaraju. The accompanying artistes are G M Dandapani (Veena), M Radhakrishna Naidu (Clarinet), K Kannan (Flute), D Ramamohan Rao (Mridangam) and Annavarapu Gopal (Ghatam).

The Plot of PBV in 5 acts:
Act 1 : Prahlāda, the ardent devotee of Mahāvishnu is the son of Hiranya Kashyapu, a self-centred demon king. Prahlāda’s devotion towards Lord Vishnu enrages his father to give orders that the boy be bound by Nāga-pāsha – a serpent spell, and he is thrown into the sea; also a huge rock is hurled after him to ensure his death by drowning. But, the lord of the sea feels honoured when Prahlāda is thrown into his arms. By invoking the aid of Garuda, the enemy of snakes, he releases Prahlāda from the serpent spell. After coming out from his deep trance, Prahlāda is advised by the the lord of the sea to sing the praise of Lord Hari to attain communion with Him.

Act 2: Prahlāda laments his inability so far to obtain the darshana of the lord. Here come the trials and tribulations he had to undergo and prays for Hari’s grace and darshana. Nārada, the divine sage hearing the pathetic outpourings of Prahlāda appears before him and consoles him, saying that Mahāvishnu has just taken leave of his consort Lakshmi and left Vaikunta and was on his way to meet and bless his devotee Prahlāda.

Act 3: Notwithstanding the assurance of Nārada, Prahlāda continues with despondence and breaks out into a plaintive song… Oh! bereaved Prahlāda ‘of what use is the eye that is unable to see the glory of Hari?’; ‘of what use is of tongue that does not utter the praise of the lord and speaks uninterruptedly mindful of the supreme?...’ Thus, the crestfallen soul of Prahlāda pours out his yearnings for the Lord. At this juncture, the Lord accords him his resplendent darshana. Prahlāda is dazzled by the glorious vision. Is it a dream, he wonders? If not, how has he merited the ineffable joy of Lord’s ‘pratyaksha-darshana’, he asks himself.

Act 4: The sublime meeting with the supreme soul (Paramātma) and the individual soul (Jjeevātma) takes place. The Lord subjects the devotee to some tests. He promises Prahlāda all those earthly enjoyments, but the latter is constant, stating that the sole desire is to be with the Lord and forever, while demonstrating his firm disinterest in pursuing worthless worldly possessions. The Lord is delighted at the selfless devotion exhibited by Prahlāda and hugs him to his bosom. Thereafter, when the Lord returns. Prahlāda bemoans the separation from his Lord.

Act 5: Saint Tyāgarāja through the role of Prahlāda visualises Lord Rama as the supreme goal. The Lord appears before Prahlāda, this time accompanied by His consort Lakshmi as Sita and explains to Prahlāda that He must return to Vaikunta although He loves to live in the hearts of his devotees. Brahma accompanied by His consort comes down to behold the spectacle of Mahāvishnu embracing Prahlāda. With the promise of eternal audience given by the Lord, Prahlāda is in ecstasy. With this experience of the attitude, Prahlāda redeems from the bondage and unites with the divine soul.

This programme not only captures the essence of Tyāgarja’s plot, but also comprises of verses, prose passages and introductory notes from the Saint's work. It also highlights the aspect of Bhakti effectively. It would probably inspire the listeners to undertake a deeper study of ‘Prahlāda Bhakti Vijayam’ and facilitate them to pursue a study of Bhāgavatam in their spiritual journey.

The details of kritis presented is listed in the "Comments Section".