Engrossing concert
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Sitar and carnatic vocal recitals by Nandakumar and Radha Padmanabhan respectively were well received.
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The change of venue from Ahobila Mutt to Karanataka Sahitya Mandir made all the difference for Nadabharati, especially in drawing greater audience attendance. Their concerts last week had fair attendance at the Sahitya Mandir's spacious hall. Nandakumar's Hindustani sitar and carnatic vocal by Radha Padmanabhan, drew both Hindustani and Carnatic listeners. Nandakumar is quite a popular sitarist of the twin cities and his style of presentation was quite impressive, especially in producing more swaras and melody with pull of the strings. He presented only two numbers of which Keeravani's alaap, jod and jhala and also a small bandish in it took enough time, almost three quarters of an hour. This was delightful and well presented.
He then went on to play a Gat in Vilambit and Dhrut Teen Taal. Nandakumar then chose to play Vaishnava Janato in Khamaj as the concluding number. He had good support from Srikant on the tabla .
The major concert of the evening was that of Radha Padmanabhan, a senior vocalist. She hails from a family of musicians and scholars. She was exposed to devotional music with classical flavour right at her childhood. She became disciple of noted vocalist duo — Raman and Lakshmanan — who, in turn, were the disciples of Tiger Varadacharier, fifth generation disciple of Thyagaraja.
She has specialised in rendition of Sanskrit slokas with clarity and expression and produced umpteen CDs and audiocassettes. Her recital on the evening reflected this rich backdrop of erudition, attaining a wealth of good repertoire and performance acumen. Being an experienced singer, Radha quickly won audience appreciation right with her opening numbers Venkataramana in Nata and Sri Bhargavi in rare Mangala Kaisiki.
Narasimha Mamava in Arabhi was marked by skilful display of swaraprasthara, with free flowing swaras. Pavanaguru in Hamsanandi was another interesting rendition before she sang another rare piece — Pavana in Pratapavarali. Kharaharapriya (Chakkani Rajamargamu) was her main showpiece. The elaboration has at every stage a beautiful move that was relishing. The neraval and swaras in the kriti part added their own lustre. The Tani avartanam in Adi by Srinivasa Gopalan and Dinakar's violin responses to her raga, nereval and swaras rendered it accomplished.
GUDIPOODI SRIHARI
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Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
