Promise delivered
MANJARI SINHA
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Carnatic vocalist Kiranavali Vidyashanker's performance in New Delhi reinstates hope in young classical singers.
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A TALENT Kiranavali Vidyashanker
A highly gifted young Carnatic vocalist, Kiranavali Vidyashanker, was presented in a classical music concert by the India International Centre in New Delhi earlier this week at its auditorium. The granddaughter of the legendary Gottuvadyam Narayana Iyenger, daughter of N. Narsimhan, a musician of repute and sister of Chitraveena Ravikiran, Kiranavali belongs to a rich musical lineage. The atmosphere at home was such that at the age of two, she could recognise nearly 200 ragas, 175 talas and answer technical queries about Carnatic music. No wonder this child prodigy started public performances at the age of five.
Later in her quest for excellence, she was fortunate enough to pursue advanced training under none other than the late T. Brinda, the torchbearer of one of the most sought after styles and the highest authority on the music of great composers. Under her guidance, Kiranavali has matured into a sensitive musician with deep commitment to traditional values and a highly refined musical insight. Featured by many leading musical organisations in India and the U.S., her role as the lead female vocalist in the operatic ballet `Lakshmi Prabhavam' was premiered in Cleveland, Ohio, and was presented in 20 major cities in the U.S.
Considerable detail
Blessed with a melodious and well-groomed voice, Kiranavali opened her concert with a composition of Puliyur Doraiswamy Ayenger in praise of Goddess Saraswati "Sarasiruhasan priye Amba... " in the raga Nattai set to Adi taal and proved the proverb `well begun half done'. Normally, this raga is used as a short invocatory item but Kiranavali treated the raga with utmost reverence and considerable detail.
Next came a Tyagaraja kriti "Broche varevare... " in the raga Shriranjani set to Adi taal. The detailed alapana in the next raga Poorva Kalyani had the contemplative hallmark of T. Brinda that inspired VSK Chakrapani's violin in good measure. The composition of Neelkantha Shivam that followed in the same raga, was set to the tala Roopakam. Her kalpana swaras were indicative of both her manodharma and talent. She adorned the Pancham for instance, with innumerable variations of tihais that led the sam.
The sublime composition of Muttuswami Dikshitar in Ananda Bhairavi, "Kamalaambaa... ." set to Mishra Chapu tala, brought out the raga bhava with considerable ease. One could feel the devotional and emotional content of the composition in her chittaswaras. Swati Tirunal's popular kriti in the raga Kuntalavarali, set to Khanda Chapu tala, gave a good contrast with the scintillating swara prastaras and the brisk rhythmic variations.
After this relatively lighter piece came the main number of the evening in the raga Bhairavi. "Yaro everyaaro... .", a composition of Arunaachal Kavi, set to Adi tala was treated in great detail and reflected Kiranavali's characteristic musical talent. Chakrapani on the violin and P. Jaya Bhaskar on the mridangam, provided her enthusiastic and sensitive support.
In an atmosphere of showmanship and gimmicks pervading the performing arts, it was heartening to see that there are youngsters who still believe in substance. Kiranavali's pristine pure music, unfailingly melodious and resonant voice, and her neat presentation had all the ingredients of a high-class performance.
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