KRISHNA GANA SABHA
Fine sruti alignment
THE RECITAL of Gayatri Girish at Krishna Gana Sabha was marked by good sruti alignment, clarity of expression in all the octaves and good command over laya. "Neranammiti" (Ata tala varnam - Kanada) provided a bright start. Swati Tirunal's "Deva Deva Kalayamite" in Mayamalava Gowla was rendered briskly with kalpanaswaras for "Jaata Roopa."
After an attractive alapana in Sahana, Tyagaraja's "Vandanamu Raghunandana" was sung with bhava. The Suddha Dhanyasi raga essay was impressively rendered, followed by Ambujam Krishna's gem of a composition, "Azhaga Azhaga Azhaga," adding meaningful swaras.
Ragam-Tanam-Pallavi was in Shanmugapriya, which was expanded in a superb fashion. The pallavi was in Khanda jati Triputa tala - 2 kallai with edupu after ¼ idam, the pallavi text being "Priye Geeta Priye Sangeeta Priye Sada Shanmuga Priye." Kalpanaswaras were attractively done in ragamalika. including Natakapriya, Rishabhapriya, Kokilapriya. Violin accompaniment by Nishant Chandran was competent and supportive, with some attractive phrases being rendered in Shanmugapriya and Suddha Dhanyasi.
Percussion accompaniment was ably provided by B. Sivaram (mridangam) and N. Shankar (kanjira). Their tani avartanam in Khanda jati Triputa tala - 2 kallai for ¼ idam was lively and entertaining with an exciting muthaippu.
Clear, expressive voice
Senior artiste Bhushani Kalyanaraman has a pleasant and highly expressive voice which is clear in all the octaves. With perfect alignment of sruti, she gave an in-depth recital featuring popular kirtanas. Dikshitar's "Kari Kalabha Mukham" in Saveri was impressive.
The alapana of Simhendramdhyamam featured several attractive traditional sancharas after which Mysore Vasudevachar's "Ninne Nammitinayya" was sung with bhava. Kharaharapriya raga essay included attractive and characteristic oscillations and curves after which Tyagaraja's beautiful composition, "Chakkani Rajamargamu" was rendered with elaborate sangatis. Neraval and swaraprasthara were done meaningfully for "Kantiki Sundara."
Ambika Prasad gave competent violin support playing some attractive phrases in Kharaharapriya and Kedara Gowla. The percussion duo, Mannarkovil Balaji (mridangam) and K.V.R.S. Mani (kanjira) provided attractive and lilting rhythm. Their tani avartanam in Adi tala - 2 kallai for ¾ idam was lively and beautiful culminating in an attractive korvai.
Impressive
Young Raghava Krishna's impressive and promising recital, included an enjoyable Pantuvarali alapana followed by Tyagaraja's "Siva Sivayana Raadaa" which was sung with brisk kalpanaswaras. The Kambhoji raga essay brought out the essence of the melody and Oothukadu Venkatakavi's beautiful composition, "Kuzhaloodi Manamellaam" was sung well with meaningful swaraprastara.
Young Raghul was competent and soft on the bow, playing Kambhoji and Pantuvarali attractively. Arjun Ganesh gave good support on the mridangam and played an interesting tani avartanam in Adi tala - 1 kallai.
Good control over laya
Bhavadharini has a robust voice and has good control over laya. Muthiah Bhagavathar's "Gam Ganapathe" in Hamsadwani was brisk, while Tyagaraja's Asaveri keertana, "Maabalavelasi" was sung with bhava. "Varugalamo" in Manji emphasised the emotive contents of the song.
The Saveri alapanam was elaborate and Dikshithar's "Sri Rajagopala" was decked with neraval and laya-intricate kalpanaswaras.
The recital included "Theliagane Jesinapudu" (Muthiah Bhagavathar - Useni), "Paripoorna Kaamaa" (Tyagaraja-Poorvikalyani, "Nannuvidachi Kadalakura" (Tyagaraja - Ritigowla) and "Enna Thavam Seidanai" (Papanasam Sivan - Kapi). Good violin support was provided by Hemamalini, who played Saveri and Poorvikalyani impressively.
Elegant
Young Haricharan Seshadri gave a promising recital with good sruti alignment. "Ananda Natamaduvar'' in Poorvikalyani was sung well with kalpanaswaras. "Mamavasadaa Janani" (Swati Tirunal -Kanada) brought out the essence of the raga. Tyagaraja's "Nidhi Chaala Sukhama" was rendered elegantly with neraval and swaraprastara for "Dadhinavaneetha." Violin accompaniment was provided by S. R. Rajesh while Praveen played the mridangam supportively, playing a good tani avartanam in misra chapu tala for 1 ½ / 3 idam.
Robust
Mohan Santhanam has a robust heavy voice, well suited for Carnatic music. After an elegant padavarnam of Lalgudi Jayaraman in Shanmukhapriya, he sang Tyagaraja's "Aanandasagara" in Garudadvani, a raga which is sometimes described as the reverse of Bilahari. The Subhapantuvarali alapana was attractive, well-matched by the violinist Suresh Babu's raga-filled bowing.
Koteeswara Iyer's "Velane Vere Gathi Illai" was sung with bhava.
Tyagaraja's "Rama Nee Samanamevaru" was sung with traditional sangatis with neraval and kalpanaswaras for "Palukupalukulagu thane" and here also the violinist played some attractive sancharas.
Tyagaraja's Begada raga kriti, "Nadopasana" was followed by an elegant tani avartanam in Adi tala - 2 kallai for ½ idam by Swaminathan, the mridangist, who played a competent, supportive role throughout the concert.
The fare also included ragamalika song starting with Nalinakanti, "Maruthiai Tozhu Maname" (V. V. Srivatsa - Behag) and a tillana of Lalgudi Jayaraman in the raga Ragesri.
S. R. GIRIDHAR
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