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Mastering and showing it

The right words Kaivalya Kumar at the concert.

Kaivalya Kumar is name less circulated in concert circles, despite him being a highly talented young man. His voice culture with an innate capacity of manoeuvring all technical features in a concert is praiseworthy. He never experienced any trouble either in Anumandra or Tara sthayies. The voice was as fresh in the final mangalam as it was in his opening - varnam. He never had any problem in all the three octaves in maintaining shruti and laya. His style of rendition seems to be dashed with a bit of Hindustani expression, now and then, which added to the melodic appeal. He is the disciple of Annapoorna and P. V. Seshaiah Sastry. He has also mastered the art of lyric writing and composing in classical music that was noticed in his varnam in Kapi, with which he opened the concert for Hyderabad Music Circle, last week. At a concert in Thyagaraya Ganasabha mini Hall, he was accompanied by Dinakar on violin and P. V. Ramanamurthy on mridangam. After warming up with his own Kapi varnam, Kaivalya Kumar rendered a rare invocation Gananatham in Chakravakam of D. V. K. Vasudevan. Anuragamule in Saraswathi, Bantureethi Koluvu in Hamsanadam, a rare Kaya Rohineesam in Karnatakadeva Gandhari of Dikshitar, were compositions he reeled out, before he took up Saramati raga for delineation, a difficult effort, he made it look easy. Mokshamu Galada, in it, was rendered with good expression. The swarakalpana too was attractive. After another kirtana he went for major raga Mohana, for the kriti Evarura Ninu Vina, with nereval and swarakalpana. He built Mohana methodically into a charming melody. The swarakalpana has raga chain of Desh, Hamsanandinand Darbaru Kaanada. Kumar ended his show with a brisk Tillana in Karnaranjani that was received with a good applause. The support by both the accompanists was laudable.

G.S

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