Fragrance of ragas
B. RAMADEVI
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Both Krishna and Unnikrishnan delighted the Tirupur audience at `Isai Amudham.'
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Photo S: M. Balaji.
FEAST FOR THE LISTENER: T. M. Krishna
T. M. Krishna's concert at Jaivabai Higher Secondary School, Tirupur, oozed with energy. He was singing for `Isai Amudham-2006' organised by Shanmukhananda Sangeetha Sabha. Following the navaragamalika varnam, he presented "Karthikeya, Gangeya, Gowri Thanaya' after a fleeting introduction of Todi.
Towards the end, the swaras poured forth like a cascade after a heavy rain. Krishna does not tantalise his audience making them struggle to identify the ragas. The very first phrase is soaked in the essence of the raga and he only adds depth and beauty as he proceeds with the alapana. His Mukhari that day will linger in the minds of the listeners for a long time.
Neelakanta Sivan's "Enraikku Siva Krupai Varumo'' was just in place and Krishna conveyed the yearnings of the seeker, by rendering the kriti with the right emotion. His best, however, was the RTP. Before he started the pallavi, ``Sankarabharananai Azhaiththodi Vaadi Kalyani, Darbaarukku,'' he made the fragrance of the ragas permeate the atmosphere.
The pallavi that was at least 50 years old, bloomed that day with a newness that was fascinating. "Jaanero Ee Mohamu," a javali in Misra Khamas was presented unhurriedly, successfully bringing out the torments of the nayika who is separated from her Lord.
He sang the lighter songs, "Sabapathikku Veru Deivam," "Irakkam Varaamal Ponadhenna Karanam," and "Srinivasa Thiruvengadamudaiyaan'' with equal sincerity and concluded his concert with a sprightly Tiruppugazh.
Sriram Parasuram's masterly strokes on the violin exhibited his class and the ragas flowed in their quintessential beauty through his deft fingers.
Mannargudi Easwaran on the mridangam and B. S. Purushothaman on the kanjira enhanced the effect of the already impressive concert and during the `tani' provided a rhythmic feast.
Soft and melodious
Unnikrishnan had clearly set aside the first two hours for the connoisseurs and the last hour for those who loved his light songs. He began with "Sarasijanaabha," a varnam in Nattai. His alapanas of Lathangi and Ritigowla were soft and melodious at the same time touching the full range of the ragas. "Pirava Varam Thaarum Pemmaane'' and "Guruvayurappane Appan'' were good selections and were enjoyed immensely. He presented the RTP in Kiravani with the pallavi, "Hare Rama Govinda Murare, Mukunda Sowrey."
Unnikrishnan.
He did full justice to the expectations of the listeners and it was like a princely banquet full of variety and richness. Mysore Nagaraj won the audience over with his excellent delineation of the ragas and lightning flashes of swaraprastharas.
B. Harikumar on the mridangam and Vaikom Gopalakrishnan on the ghatam proved their mettle with their joyous performance.
After the `tani,' there was a stream of popular songs. Starting from "Theeratha Vilaiyaattuppillai,'' Unnikrishnan went on to present many of the favourites, including "Brahmamokate'' and "Radha Sametha Krishna." It was moving to members of the audience sing along with the artiste, their face brimming with happiness, hands clapping and legs tapping, completely oblivious of the surroundings.
Confident
In the slot for junior artistes, Sriranjani Ramachandran presented a satisfying concert with her confident approach and careful selection of songs. She was accompanied by Kailasanathan on the violin, Ramachandran (her father) on the mridangam and by Jagannathan on the morsing.
The next day, Kovai M. S. Subhashini entertained the audience with her pleasing recital. On the final day, the child prodigy, Master Anantaraman, who has already won critical acclaim, left every one wondering how at such a young age, he could handle all the complicated items of a concert like alapana, neraval, swararaprastharas and viruttam with such cool confidence. He was supported on the violin by Haricharan and on the mridangam by Prashant.
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