Robust voice, creative streak
G. SWAMINATHAN
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Bharat Kalachar's Yuva Utsav is showcasing young talent in the field of classical music.
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PROFICIENT: Prasanna Venkatraman.
Bharat Kalachar's annual `Yuva Utsav' showcases young aspirants in classical music. This year's edition already on featured B. Umashankar and Prasanna Venkatraman.
Umashankar is blessed with a robust voice that needs refinement, which is bound to come with the passage of time and regular singing.
Umashankar's raga executions were commendable as he delved into the niceties of the melody. In his delineations of Latangi (`Venkata Ramana' by Papanasam Sivan) and Madhyamavati (`Palinchu Kamakshi' by Syama Sastri), the singer had done his best. One could identify the characteristic pharasings of Bombay Sisters with whom he is presently honing his musical skills. Also Umashankar scrupulously framed his kalpanaswaras integrating his long winding chains with may jandai and thattu swara applications.
On the flip side, Umashankar's basic sruti turned undulating in some places. It was quite disturbing especially in the charanam of `Palinchu Kamakshi,' the main course. The other aspect that demands Umashankar's attention is the watering down of the swara series with certain repetitive combinations. Nevertheless, the neraval and swaras at `Alarmelu Mangai Manala' in `Venkata Ramana' were quite pleasing.
Sivakumar Anantharaman of Mumbai, another youngster on the violin, played with good composure. Trivandrum N. Hariharan on the mridangam was passable. The sad point was the perceptible absence of a binding chemistry among the group though independently each one was proficient.
When an artist has strong foundation it reflects on his performance. Prasanna Venkatraman's tutelage under able gurus like T.R.Balamani and T.K.Govinda Rao and at present Sanjay Subramaniam has prepared the young vocalist with generous knowledge and confidence. The bright Durbar varnam, `Chalamela' promised an engaging concert.
Well-cultivated voice
B. Umashankar.
Not a glamorous but well cultivated voice of Prasanna elucidated Anandabhairavi, Kalyani and Begada in different proportions. A sketchy alapana was a prelude to the Kamalamba Navavarnam `Kamalambam Sam' by Dikshitar. Kalyani, though a major, gave way to Begada in the main slot. Venkatraman's raga expressions bore the stamp of his unambiguous comprehension of traditional music and the strength of the raga. Begada stole the show with Prasanna's entire concentration on unfolding the many pleasing facets of the raga effectively with creativity.
The choice for Kalyani was `Sundari Nee Divya Roopa' and for Begada it was `Nadopasana' both by Tyagaraja. There was a rain of swaras on `Kalilo Deena Rakshaki' in Kalyani and `Mantramulu Yantra Tantra' in Begada.
The Huseni number, `Emanai Ve Kintu Ne' (Tyagaraja) and `Naan Oru Vilayattu' in Navarasakannada added charm to the concert. Notwithstanding all these above-mentioned credits, the spirit of youth seems to propel the singer to be always on the dart.
Prasanna's recitals will become more enjoyable if he learns to relax as his basics are concrete. It will help if he keeps a control on his galloping gait and visible restlessness.
V. Suresh Babu on the violin was comprehensive in his part. M.R.Srikrishnan and K.V.Gopalakrishnan on the mridangam and kanjira sounded a bit loud and were quite boisterous in their tani avartanam.
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