Devout musical offering
JAYARAMAN V
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The vocal and instrumental recitals organised in connection with the Ernakulam Siva Temple festival proved to be a treat for the listeners.
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MELLIFUOUS MUSIC: Kadri Gopalnath participated in the Ernakulam Siva Temple festival.
Cherthala Ranganatha Sharma always sings in a format that is clear to Carnatic music lovers of all hues.
His vocal recital in connection with the festival at Ernakulam Siva Temple, organised by Cochin Devaswom Board and Kshethrakshema Samiti, was reflective of his adherence towards `Sampradaaya,' something that is fast disappearing from kutcheri platforms.
Right from a varnam in Sahana (`Krunimpa Idi' by Tiruvotriyur Thyagaier), with which he began his recital, he infused his recital with vigour, lustre and vocal power till the very end of his concert. Muthuswami Dikshitar's `Ganarajena' in `Arabhi' was followed by `Devadeva' in `Mayamalava Gaula,' which had a sequence of niraval with it.
`Akhilandeswari' in Dvijavanthi was embellished with swaras before Sharma came up with an eloquent Nagaswaraavali and `Sree Sankara' in Roopakam. `Ninnu Joochi,' composed by Pattanam Subrahmania Iyer in Saurashtram, and a throbbing swara sequence in Swati Tirunal's `Gaangeyavasana' (Hamir Kalyani) were also applauded by the audience. Ajith Edappally (violin), Palladam Ravi (mridangam) and Maruthorvattam Ananthakrishnan (ghatam) accompanied.
Saxophone recital
After Sharma, it was the turn of Kadri Gopalnath to captivate the listeners. His saxophone recital was fashioned to suit the motley crowd assembled there.
As usual, he packed `Vathapi' with a torrent of swaras. `Sivasiva siva Yanaraada' (Panthuvarali) by Tyagaraja was followed by `Paraatparam Parameswara' in Vaachaspathi, a creation of Papanasam Sivan.
Abheri was hurried through but the maestro made amends with `Nagumomu,' in which `gamakas' gushed forth. Kanyakumari brought in a fascinating bowing and fingering technique to sustain the tempo of the recital. Karunaamoorhty (thavil), ThripunithuraRadhakrishnan (ghatom) and Bangalore Rajasekhar (muhkarsankhu) were equally adept in the realm of percussion.
S. Mahathi sang in a pleasing pitch and her repertoire was varied and colourful. As her father, Thirvaiyaru P. Sekhar, a disciple of Balamuralikrishna and Vasanthi Sekhar, is a trained flautist, Mahathi has been able to imbibe the niceties and thus maintain her reputation as a good Carnatic vocalist and playback singer.
Although the concert began with a heavy `Daruvarnam' (`Maathe Malayadhvaja') by Muthiah Bhagavathar in Khamas, she acquitted herself well. Then came `Mahaganapathim' in Naatta, followed by a depiction of Hindolam, in which the melodic content merged with her rich voice.
S. Mahathi
Calibre
Her calibre was revealed through `Kumudakriyathat' which was opulent with lush musical nuances. During the latter part of the concert, Oothukkad Venkata Subbayyar's `Alai Payuthe' (Kanada), `Kurai Ondrum Illai,' composed by Chakravarthi Rajagopalachari and set to music by Kadayanallur Vaidyanathan in Sivaranjini, Kaappi and Sindhubhairavi, and a Marathi `abhang' were some of the songs she rendered.
S.R. Rajasree accompanied on the violin. Delhi Sairam, playing the mridangam inTiruvarur style, and Udippi Sreedhar, a reliable ghatom vidwan, were the other accompanists.
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