Unni's mixed fare
GUDIPOODI SRIHARI
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Unnikrishnan's rendition was marked with excellent melody.
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HIGH NOTE Unnikrishnan during his performance.
Unnikrishnan gained popularity not because of his scholarly acumen in Carnatic vocalism, but because of his playback singing talent, that too after Rehman used his voice.
The Ravindra Bharati auditorium witnessed record crowds spilling into aisles to witness his show. The South Indian Cultural Association (SICA) thought it wise to present him in the "Special concerts festival" at its foundation day celebrations.
SICA, the oldest music sabha, had organised several memorable events during its long span. The only complaint people in the twin cities have about SICA is that it ignores Telugu musicians. It would be good if they were to hold a program for young and talented vocalists from the State at least once in a month at Ravindra Bharati.
Unnikrishnan's vocal concert was a real change from the regular. His style of rendition sounded rather breathless, as there were very few pauses between long musical phrases, be it raga prasthara or swsara prasthara.
He maintained excellent quality of melodic lilt and the raga bhava. But the problem was that his rendition lacked clarity of sahitya. It was shocking. Even a sahitya oriented Annamayya in folk idiom (tandanana hure) was literally rolled out, breezily.
Singing in the company of two seasoned accompanists Vittal Rama Murthy on violin and Ganapathi Vaman on mridangam, Unni's music was a picture of a bizarre kirtana and breezy spells of raga and swara with a pleasant voice culture. Deva Deva Kalayami, of Swati Tirunal in Mayamalavagowla with a brief neraval and expansive swaras was one of the dominating numbers in the earlier part.
Shanmukhapriya for a Tamil composition of Papanasam Sivan came for an expansive delineation. Mukhari was another detailed rendition by Unnikrishnan.
Welcome departure
The third great number from him was Sankarabharanam to which he gave good time for expansion. His akaaras and the gamaka structures revealed his highly flexible vocal culture and ease.
He could negotiate through three octaves of the raga and then swara prasthara. The rendition of Akshaya Linga Vibho of Muthuswamy Dikshitar with a smart nereval and methodical swarakalpana made the number a good one.
Though he began saying he was going for a brief Ragam Tanam and Pallavi exercise in Keeravani, he made it an extensive and most important piece.
He took good time for Pallavi rendition and to Ragamalika swaras too. This was in Adi Talam. For once he looked steady and well composed and a bit relaxed too while presenting the Ragam Tanam and Pallavi . This was the best piece of the concert.
Vittal Ramamurthy on violin was simply brilliant in giving a perfect shape to the raga in the short time that an accompanist generally gets. Sankarabharanam and Keeravani were notable.
Ganapathi on mridangam also made a difference with his scholarly play, what with Unnikrishnan looking at him constantly for inspiration and appreciation.
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