Vibrant performances
SANKAR N
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Sriram Gangadharan and Srivalsan Menon rendered popular as well as rarely heard kritis at a recently organised programme.
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SOULFUL RENDITION: Sreevalsan J. Menon Photo: S. Ramesh Kurup
A concert of Sriram Gangadharan, organised by the Sadguru Sangeetha Sabha, at Padmasri Hall, Tali, evoked memories of the late G.N. Balasubramanian (GNB), veteran vocalist and composer.
Sriram started with a varnam in Vasantha raga of Thachur Shinkarachari, `Ninnukoriyoonara...' and followed it up with `Inthakannaandame nee...' of Thyagaraja in Bilahari.
`Deva deva Jagadeesha...' of Swati Tirunal in Poorvikalyani was the next piece. The ragalapana was good and meticulously delineated.
Next was the GNB masterpiece in Khamas, `Brochevarevarura,' a composition of Mysore Vasudevachariar.
The neraval at `Kanchadalalochani' was followed by a brilliant swaraprasthara involving much kanakkus. `Paramapurusham...' of Swati Tirunal in Lalithapanchamam, was rendered in a fine pace and with good bhavam.
As the main alapana for the evening, Sriram sketched a very special Thodi, exploring various unusual but remarkable sancharas and omitting the panchamam, which added to the charm of the rendition. Sruthibedham was performed with ease and perfection, paving the way to Harikamboji. This was well received by the audience.
The kriti chosen was `Sarasija nabha murare' of Swati Tirunal as the day was formally dedicated to him. The neraval and swaraprasthara again were sung in good pace and with marvellous kanakkus. It was followed by a good thaniavarthanam.
The thukkadas at the end were `Kaliyuga...' in Kurinji, `Radha Sametha Krishna' and `Jaga Janani sukhapani kalyani...,' a melodious old song in Rathipathipriya. Siriram, who began his musical career as a flautist at an early age, decided to become a vocalist because of his passion for vocal music. Throughout the concert Sriram exhibited his powerful shareeram, in both the alapana and kriti rendition. It evidently reflected the tremendous sadhana he puts in. His dazzling brigas, pronunciation, sangathis and brisk swaraprasthara with the characteristic permutations of GNB were very well received by GNB fans. The fast kalapramanam set by him for all the songs made many sangathis, stunning and colourful. A kriti of Dikshitar or Shyama Sastri would have boosted the concert atmosphere to greater heights.
T.H. Subramaniam on the violin and Tanjavur Ramdas on the mridangom enthralled the audience. D. Rajagopal could well maintain the pace of the kritis on the ghanchira
Outstanding recital
Another vocal concert that was outstanding was of Srivalsan J. Menon. All through the concert, the ragalapanas and the kriti rendition were done with fine sruthi shuddhi and vivid padanthara.
Srivalsan started with the Sriraga varnam, `Sami ninne kori' of Karur Devudu Iyer. It was followed by `Pranamamyaham Sri Gourisutham' in Goula of Mysore Vasudevachariar. The kalapramanam enriched the rendition.
The next item was `Mamavasada Janani' of Swati Tirunal in Nattaikurinji raga. The neraval at Lalitha mani was smooth and aesthetically structured. Then came the small and beautiful song of Thyagaraja in Huseni raga, `Rama ninne Namminaru,' one seldom heard in recent concerts. `Sabhapathiku veru deivam Samanamakuma thillai...' in Abhogi raga, a well-known kriti of Gopalakrishna Bharathiyar, a Tamil composer who was a contemporary of the Trinity, rendered at the right time made the concert atmosphere more colourful.
This was followed by Poorvikalyani alapana. `Meenakshi Memudham,' believed to have been rendered by his disciples when Dikshitar attained samadhi, was taken up and a rather good neraval performed at `Madhurapuri Nilaye...'
Bhairavi, taken up for the main alapana, suited the evening. It was sung with good bhavam, though the sancharams were ordinary. Thanam was also sung, to the accompaniment of the mridangam. As a coincidence, the kriti rendered was `Janani Mamava' set in Misrachapu thaalam. It is one of the Navarathri Kritis of Swati Tirunal.
The thukkadas rendered were `Aarabhimanam,' a famous raagamalika of Tanangambadi Panchanaada Iyer, `Govardhana Giridhaara Govinda,' Darbari Kanada kriti of Narayana Theerthar and `Alashara parithapam' of Swati Tirunal in Surutti raga, which was started from the anupallavi, `Jalaja bandhu...'
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