Touch of class
JAYARAMAN V
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Nanditha Ravi's bhaani reflected her stringent training and impressive lineage.
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Nanditha came up with a rarely heard `Ananthapadmanabham Asraye' in Arabhi, composed by Muthiah Bhagavthar.
Stringent training, conscientious learning and constant listening to chaste music are the three primary requisites for an aspiring Carnatic vocalist, according to Voletti Venkateswaral, who had experimented with classical music from many angles.
One was struck by the veracity of this statement while listening to Nanditha Ravi from Chennai. Rasikas assembled at Kalikotta Palace, Tripunithura, got an insight into the significance of `parambara' or lineage, as far as Carnatic music is concerned. Trained by her maternal grandmother Thulasi Ammal, (a disciple of Parur Sundaram Iyer, father of MSG), the young vocalist has also been trained by her mother, Rema Ravi, and Bombay S. Ramachandran.
The concert, under the auspices of Sree Poornathrayeesa Sangeetha Sabha, began with `Saami Ninne,' composed by Karur Devudu Iyerin in Sree Ragam.
Trained by stalwarts
At the very outset, her bhaani reflected the confluence of the salient features of many noted vidwans and vidushis of the past since Rema Ravi learned from greats such as MDR, Mysore Vasudevachar and gottuvadyam maestro Budalur Krishnamoorthy Sasthrigal.
As a research student, she was guided by B. Rajam Iyer of the Ariyakudi fold and by flautist T.Viswanathan and Brinda-Muktha of Veena Dhanam clan.
After Dikshithar's `Gajaananayutham' in Chakravakam, Nanditha came up with a rarely heard `Ananthapadmanabham Asraye' in Arabhi, composed by Muthiah Bhagavthar.
`Balagopala,' composed by Dikshitar on the deity in Mannargudi, was embellished with kalpana swaras. `Bhrova Bharamaa' in Bahudhari by Tyagaraja and `Karuanakara Maamava' in Begada by Swati Tirunal were instrumental in stabilising the pace of the concert. Panthuvarali had a few delectable sequences.
`Appa-Ramabhakthi ento,' through which Tyagaraja pays homage to Sabari, was rendered with a compact niraval and swaras. Puranadaradasa's composition `Rama Rama Rama' had a vivid image of Vasanta in it. `Chethasree' in Dvijavanthi was followed by a delineation of Kalyani. Although it took some time for the `jeeva' of the raga to surface, the latter part was replete with attractive passages. `Enduko neemanasu,' a Tyagaraja composition that implores the Almighty for help, was touchingly rendered with niraval and swaras.
M.N. Moorthy on the violin had a good rapport with the vocalist. Thiruvananthapuram V. Ravindran (mridangam)and Anchal Krishna Iyer on the ghatom provided efficient percussion.
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