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Aruna Sairam

Embar Kannan’s handling of the ragas in his solo versions was praiseworthy. Ganapathiraman’s clarity of strokes on the mridangam came in for praise.

Malladi brothers

Sowkhyam marked the concert of Sikkil Gurucharan with the theme, ‘Sivamayam’ (songs in praise of Lord Siva). The artiste was in absolute command of the songs chosen and the alapana. The opening Bhairavi varnam, ‘Mohanamana Enmeedhu’ gave the right start followed by ‘Sri Mathrubhutam’ (Kannada), ‘Nadhathanumanisam’ (Chittaranjani), and ‘Nadanamadinar’ (Nadanamakriya) marked by intensity of expression. His Kiravani alapana was an erudite delineation for Appar’s ‘Thevaram’ hymn. The raga vinyasam of Sankarabharanam was given an unalloyed classical treatment. The niraval improvisation accompanied by lilting swaraprastaras was a veritable delight to the rasikas. Krishna Prasad gave refinement to his play on the violin and his tidy execution of the raga structures of Sankarabharanam and Kiravani revealed the essence of their beauty. Subrahmaniam (mridangam) and Sridhar (ghatam) ably handled the laya segment.

The Malladi Brothers harnessed their bell-like brigha-friendly voices to provide visranti and sukham in their three-hour concert. The soothing strains of Anandabhairavi floated in with the opening Chalukooda varnam. Parvatarajakumari (Sriranjani) followed with swaras. Ravikumar’s alapana of Atana and Ramapriya structured by solid sangatis, were steeped in raga bhava. Sriramprasad’s raga essay was a comprehensive rhythmic exercise to bring out a colourful mosaic of Kharaharapriya for the kriti, ‘Nadachi Nadachi.’ The duo’s RTP in Kokilapriya for the pallavi, ‘Sri Raghavam Bhajeham’ carried the stamp of tradition with eloquent karvais and akaras to be rounded off without any fringe. Ganeshprasad gave deft touches and delicate shades to the solo versions of the ragas he played on the violin. Subramaniam (mridangam) and Gopalakrishnan (ghatam) gave a brilliant thani.

Neyveli Santhanagopalan

Neyveli Santhanagopalan’s concert evoked mixed feelings. After the initial Begada varnam, the main numbers he sang were ‘Thulasidala’ (Mayamalavagowla), ‘Maakelara’ (Ravichandrika) and ‘Subrahmanyena’ in Suddhadhanyasi. His raga delineations of Purvikalyani and Bilahari had a steady and pleasant development. Though his raga essay of Bagesri for RTP was vast in range, the rasikas could feel that the concert survived on the violin accompaniment of Pakala Ramdas and the appreciable part of Guruvayur Dorai (mridangam) and Gopalakrishnan (kanjira).

Sanjay Subramaniam.

Sanjay Subrahmanyam’s concert was an erudite presentation in terms of musical substance. Flagging off his recital with the Hindolam varnam of ‘Chalamu,’ he went on to ‘Endugunirdaya’ in Devamritavarshini drenched in divine nectar. The Kedara raga vinyasam for the composition, ‘Tyagarajagurum Aashraye’ was developed impressively with rakti prayogas. His penchant for briga had full play in the Pantuvarali alapana. ‘Siva Siva Enaradha’ contained delightful phrasings with mega swaraprastaras after a pleasing niraval.

‘Sri Panchanadeesam’ was a reposeful presentation after a raga essay filled with finely balanced sancharas. The Tiruppavai hymn had a touch of elegance. The edifice of Shanmukhapriya with melting sangatis was classic. Sriramkumar’s violin accompaniment in the solo versions of Sahana and Shanmukhapriya with telling phrases lingered in their graces. Satishkumar (mridangam) and Gopalakrishnan (kanjira) accompanied with pace and variety.

Photos: S. Siva Saravanan, M. Periasamy and K. Ananthan.

Classical: S. Sowmya

In the afternoon junior slot, Niranjan Krishna, a disciple of Coimbatore Sivaramakrishanan, was a picture of confidence. His opening Bahudari varnam was followed by ‘Gananathaya Namasthe’ in Gowlai. His penchant for neatness in rendition of the songs drew appreciation in ‘Sivananda Kamavardhini’ (Pantuvarali), ‘Adukaradani’ (Manoranjani) and ‘Saramaina’ in Behag. The promising youngster has a good voice but needs to hone his skills by intense sadhakam. Swaminathan (violin) and Raghu (mridangam) were the accompanists.

Sudha Raghunathan

Departing from the Brindamma style, Aruna Sairam enthralled the rasikas with her aesthetically gratifying music. In her thematic kutcheri, ‘Gayaka vaggeyakaras, the opening Suddhadhanyasi varnam, ‘Sri Rajamathangi Chamundeswari’ struck a deep chord with the listeners. ‘Tatvamariya Tarama’ (Ritigowlai) with swaras was a no-frills presentation. Her alapanas of Valaji for the kriti, ‘Karthikeya, Kamalekshana’ and Shanmukhapriya for the song, ‘Vallinayakane’ stood out. If gana-naya makes for beauty of expression, you have it in plenty in Aruna Sairam. The crisp Kharaharpriya raga vinyasam for RTP represented her musical perception at its best. Oothukkadu’s ‘Kaliyanarthanam’ was a fitting finale to her interpretative finesse. Embar Kannan’s melodious notes on the violin in his solo versions were song soporific to the discerning rasikas. Satish Kumar (mridangam) and Karthick (ghatam) had a field day supporting the vocalist.

Classical melody was the core of Sudha Raghunathan’s recital. The bright start of the Begada varnam, ‘Inthachala’ accompanied by Bharatiar’s ‘Ganapathiye’ (Kharaharapriya), ‘Sobillu’ (Jaganmohini) and ‘Theliyakane’ (Huseni) indicated an interesting mature performance ahead. The Jaganmohini alapana for the kriti, ‘Yagnadulasukhama’ was seductive with a touch of delicacy to the raga ambience. Dikshitar’s ‘Sri Viswanatham Bhajeham’ (Chaturdasa ragamalika) was absorbing and gave a tenor of different ragas. She scaled great heights in her Dharmavthi alapana, and her RTP in Thodi was steered in proper direction and wrapped up to showcase her masterly competence. Embar Kannan’s portrayals of Jaganmohini, Dharmavati and Thodi were delightful. Skandasubramaniam (mridangam) and Raman (morsing) gave good percussion support.

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