Voice facilitates free expression of ragas
The performance of T. M. Krishna had an imperious aura built on the control of commanding voice directed to full spontaneity of free expression. The occasion was the celebration of Muthiah Bhagavathar Day under the joint auspices of Narada Gana Sabha and Harikesanjali Trust. The concert was based on Muthiah Bhagavathar's compositions.
Two ragas he detailed at great length — Karaharapriya (Nenu Jesina Puja Phalamu) and Todi (Meenalochani Amba). Conceived as passages of passion, the sancharas in both ragas reached peaks of cultivated exposition. As the ragas unfolded there was nothing more attractive than the cheerfulness of the faces of both. He steered the phrasings in the tara sthayi with consummate discrimination, a testament to his style and ability.
Of all the songs he rendered, he well cherished the Nayaki kirtana (Sri Raghuvara Chinmaya) as his precious interpretation. In S. Varadarajan (violin), Arun Prakash (mridangam) and Purushothaman (kanjira), Krishna felt no constraints to excel. Varadarajan's solo versions of Karaharapriya and Todi rustled with charm and grace. Arun Prakash's percussive support fitted well with the singing pattern of the vocalist. So was the kanjira interlude.
SVK
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Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
