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Photo: S. Thanthoni

UP-AND-COMING: Kolkata Srividya

‘Maha Ganapathim Bhavaye’ in Kharaharapriya with strings of swaras at ‘Mangalakara Manda Hasa Vadanam’ was the preparatory one. The kritis that followed had preludes of the raga, in different proportions. ‘Enduko Baga Teliyadu’ in Mohanam (Tyagaraja) preceded the comparatively longer Begada alapana and ‘Neevara Kula Dhanamu’ (Tyagaraja).

Srividya should exploit her voice in full measure for raga essays. She was confident enough to venture on a Ragam Tanam Pallavi of Hamir Kalyani in her two-hour concert.

As expected, the entire exercise had to be condensed to fit the time with brief alapana, briefer tanam and an extended pallavi set in Kanda jathi triputa talam.

The pallavi was ‘Krishna Nandalala Gokula Vasa Gopala Madhava Bala’. The ragamalika portion was with Kanada and Bowli with the trikalam shifted to Bowli segment.

Kuldeep Pai.

Srividya’s skills came out commendably in her framing of kalpanaswaras showing her penchant for certain exotic combinations of swaras.

Akkarai Swarnalatha on the violin infused the missing melody into her raga versions. Kolkata K.Mohan was on percussion support to keep the pace of the concert.

Young Kuldeep Pai has the unique distinction of having proficiency in violin, mridangam and ghatam apart from vocal which is his mainstay. This knowledge permeated in his vocal presentation to his advantage.

Krishna Gana Sabha deserves a pat for providing the main evening slot for this upcoming artist. The striking facet of Kuldeep Pai’s music is that he exudes confidence in his approach and clarity in deliverance.

With sruti and voice in his full control, Kuldeep could march ahead with conviction. Notwithstanding, in his swaras, the notes fit in, in the right slots. This was exploited by Pai in his opening Dr. Balamuralikrishna’s Gambhira Nattai varnam and extra rounds of swaras on ‘Shive Shive’ and later in ‘Santhanagopala’ in Kamas by Dikshitar.

Kuldeep’s alapana technique slightly differs from the common mode, supported by full-throated articulation replete with enchanting karvais, and without sacrificing the emphasis on the right places.

Kuldeep presented Subhapantuvarali in an unalloyed Carnatic genre, knitted with melodious phrases.

‘Sri Satya Narayanam,’ another Dikshitar composition, and the passionate niraval sans swaras ‘Vasa Vadi Boojitham’ gave a special flavour to the kriti.

The raga of the evening, Thodi, ensued through aesthetics and melody-filled phrases in the raga essay. ‘Emi Jesithenemi’ of Tyagaraja and the niraval and swaras at ‘Vara Mantra Manyula’ endorsed the grandiose of the raga and composition.

The composition of the team provides value addition to any concert; Padma Shankar’s artistry and maturity keep moving upwards in her ability to receive, reach and reproduce the best from the vocalist; be it raga alapana or kalpanaswaras.

Padma reciprocated with the main artist, matching fire with ice. Her Thodi exposition was rich in tradition-soaked phrases embellished with ingenious inflections.

On the flip side, Kuldeep’s fast-paced ‘Bantu Reeti’ was indeed inept as the delicate Hamsanadam could hardly take the throes of stridency. It is imperative that Kuldeep also gets an insight to the character of the raga for its improvisation levels.

Conversely, the concluding Narayana Tirtha tarangam, ‘Pahi Pahi Mohana Krishna’ in Nadanamakriya was touching, with warmth and right tempo.

Kuldeep was fortunate to be supported by two veterans on percussion; Trichur Narendran on the mridangam and Vaikkom Gopalakrishnan on the ghatam. Their measured, unobtrusive, right decibel padding and crisp thani were other aspects in favour of the concert.

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