Blend of bhakti and music
T. K. GANAPATHY
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A concert series marked the Sri Ramanavami festival in Coimbatore.
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CLEAR DICTION: Thrissur Ramachandran
Traditional style and vocal opulence with a classic touch characterised the performance technique of Thrissur Ramachandran's vocal recital on the second day of the Sri Ramanavami music festival at R.S. Puram, Coimbatore. Sampradaya music was his core.
His well- structured concert began with the Begada varnam followed by `Thulasidala' in Mayamalavagowla with a brief spell of swaras. `Jagadhanandakaraka' was sung with ease and clear diction.
The Pantuvarali raga essay for `Paripaalaya Sarasiruha' was noteworthy for rare musical phrases and idioms.
M. A. Sundaresan demonstrated his unflagging energy in the solo versions.
The exciting laya patterns of Prasad on the mridangam and Gopalakrishnan on the ghatam lent dignity to the recital.
No impact
Endowed with a vibrant saareeram the up-and-coming Balamuralikrishna has all the ingredients of a skilful and accomplished singer with a musical sense in his own right.
However, he could not make an impact through his singing at the Sri Ramanavami festival of music.
His presentation of songs lacked emotional contours. The sampradaya style of rendition beginning with "Neranammi" (Kanada) spanned through familiar kritis like "Vatapi Ganapathim" (Hamsadhwani), "Lekhana" (Asaveri), "Anupamagunaambudhi" (Atana), "Seethamma" (Vasantha) and "Ninne Nammithi" with disciplined smoothness.
His raga vinyasam of Bhairavi for Koluvai nourishing the phrasings with care registered well with the listeners. The vocalist will do well to hone up his vocal refinement.
He is accompanied by Ambika Prasad on the violin and Balaji on the mridangam.
Good rapport
— PHOTO: M. Periasamy
BRISK AND VIVACIOUS: Balasayee — PHOTO: M. Periasamy
Vidwat and vocal refinement in an artiste win instant rapport with his listeners.
Energised musicality, inventiveness and exquisite manodharma characterised the vocal concert of Abishek Raghuram during the festival.
Be it in articulating the sangatis or mapping the contours of the ragas, he enthralled the audience.
Blessed with a metallic voice, he pursued aesthetics and his performance vigour provided music's santham to the aficionados.
The artiste got off to a brisk start with the Mohanam varnam in durita kaalam. After a brisk presentation of "Balakanakamaya" in Atana, the nuanced delivery of "Apparama Bhakti" in Pantuvarali rang in melody with precisely enunciated notes and characteristic gamakas in the raga alapana.
He built up the edifice of Vasantha Bhairavi for "Needayaradha" caressing and peppering it to send the rasikas to raptures.
The raga delineation of Mohanam for "Nannupalimpa" with charming idioms and phrases including the neraval and swaras were classy.
Basker's solo versions of Vasantha Bhairavi and Mohanam were elegant. Rajagopal on the mridangam provided impressive laya support.
Penchant for virtuosity
The inaugural flute recital of Balasayee at the Sree Ramanavami celebrations was a demonstration of the flautist's artistry in handling the instrument as well as a deep perception of musical values.
The cutcheri enhanced by the gentleness of Allam Durgaprasad's gottuvadhyam as accompaniment in place of the violin revealed his sensitivity to the nuances of Carnatic ragas.
His brisk and vivacious presentation of the opening Kanada varnam, "Neranammi" was followed by "Siddhivinayakam" in Shanmukhapriya rendered brilliantly with kalpanaswaras.
The Charukesi alapana for "Kripaya Paalaya," "Ninnada Nela" (Kanada) and "Sobillu" (Jaganmohini ) displayed melodic beauty of the ragas and his penchant for virtuosity.
Poorvikalyani was sung elaborately employing musical phrasings and the aesthetic flow of the kriti was couched in sweet idiom.
"Idu Nyayama" in Maalavi was delightful. Prasad (mridangam) and Gopalakrishnan (ghatam) together played a vibrant laya-intricate tani culminating in an exciting muthaippu.
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