Apt choice of ragas
HAREESH BAL
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Trichi Ganeshan chose a wide range of ragas.
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Trichi Ganeshan needs no introduction to Carnatic aficionados in Kerala. A graduate of the Swati Tirunal Music College, he is well known for his style that bear traces of the legacy of the old masters. His concert for Poornathrayeesa Sangeeta Sabha at Kalikotta Palace, Thripunithura, was a success on account of the variety in selection of ragas and composers.
He began his concert with the Bhairavi Ada tala varnam `Viriboni' of Pachamiriyam Adiyapayya. `Pavanatmaja,' a composition of Muthuswamy Dikshitar in Natta, set to Khanda chappu, offered rhythmic variation. His style of singing the swaras was enthralling.
`Thulaseedalamulache,' a kriti by Tyagaraja in Mayamalavagowla raga, is based on the concept of `archana' as a way of devotion. Ganeshan's comprehensive neraval for `Saraseeruha punnaga' was embellished by swara prasthara that revolved around `ga ma pa dha,' offering various combinations.
Key phrases
His delineation of Reethigowla stood out for its clarity of raga swaroopa and emphasis on key phrases. The voice modulation on the gamakas for `Chararavathe,' a Tyagaraja composition, made it a remarkable rendition. Swara patterns with `sa ga ri ga ma ni ni sa' were interspersed melodiously in the `anulomam-pratilomam' pattern.
The vocalist switched to a different mood with Begada (`Eeshan Kanakasabesan') and a Papanasam composition in Sriranjini - `Irukkannirukumbodu vinnuyar gopuram Kaanavendamo.' The main raga for the evening was Dhanyasi, and the composition chosen was `Dhyaname Rama dhyaname.'
Tuned to each other
Palladam Ravi, the vocalist's colleague at AIR Madurai, sensed every move of the vocalist and his accompaniment on the mridangam was perfect. There were a few lapses in the thaniyavarthanam with Thrikkakkara Shantharam but a well played mukthaippu made up for it. Ganeshan imparts a different feel even to the lighter pieces as he goes for short raga sketches with flashy brigas and movements. `Enthamudo' (Bindumalini), `Eppadi Padinaro' (Abheri) and `Bhaja bhaja Manasa' (Sindhubhairavi) were thus rendered and `Vanchthonuna' in Karnaranjini stood out for its emotive richness.
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