Melodious recital
RANEE KUMAR
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Shreeniwas Joshi's regaled the audience with a style reminiscent of the late Pandit Bhimsen Joshi.
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STYLISH RENDITION Blessed with a rich, gifted voice and emotive tone, Shreeniwas is a marvel to behold.
Nothing can cast a spell than a beautiful voice if a musician is blessed with one. And that is precisely what sets Shreeniwas Joshi apart from myriad Hindustani singers big and small. His style is reminiscent of the late Pandit Bhimsen Joshi, say the veterans who had heard the great maestro.
Shreeniwas has an added advantage of going by the pulse of his viewers, which very few classical singers seem to possess. He can trim and tone his concert to suit the sort of audience he is with. Result — the crowd is glued to the seats in rapt attention!
This time around, it was under the aegis of the Kannada Natya Ranga (at Potti Sreeramulu Telugu University Nandamuri auditorium) that Shreeniwas chose to render a string of Kannada devotionals but not without a formal Hindustani khayal at the very outset.
The raag rageshrikauns (a blend of Rageshri and Malkauns) got defined in its structure as he enfolded the pakkad into a clear ascent-descent and launched into the khayal in teen taal with the opening lines-dayaa mope karo prabhu...
He surfed through the couplet with varying tones with his rich voice at times deep, at times vibrant in keeping with the mood of the song. Shreeniwas' staying power is a marvel to behold especially when he oscillates around the principle syllable of the raag he chooses to present. The words in the verse Bhav saagar se paar utaar.. seemed to be pulsating with life as they flowed through the vocalist's emotive tones. The stylish rendition of the aakar taans soon followed by the bhol taans are an added asset to his rich, gifted voice.
The effortless ease with which he undertakes an exposition of the raag and wraps up the purely classical part of the concert with the tarana in druth teen taal is to be seen to be believed. The intensity and velocity with which he deciphered the nuances of the tarana was amazing to the say the least.
The devotionals be it the bhaavageethe-Devara mane idhu ee jagamella or the very popular Bhagyada Lakshmi baramma (Bhimsen Joshi's top charter), were set in the lighter classical and rendered with feeling giving full scope to appreciate the lyrical content. Raag Bhupali (akin to Mohana in Carnatic), Mishra Shivaranjani and Bhairavi surged like a rivulet in full swing.
Shreeniwas has a way of leaving his mark on every song with a soulful verse recitation at the start and a sonorous tempo to the finishing line.
He injects his concert with a liveliness that is so infectious as to sway the audience into a beat to the taal. Harjeeth Singh on the tabla and Rachana on the harmonium formed a fitting orchestra.
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Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
