Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Cinema Plus | Young World | Property Plus | Quest | Folio |

Photos: R.Shivaji Rao

Worth your while: T.M.Krishna and (below) T.V.Sankaranarayanan.

Krishna’s approach was subdued for the Begada alapana, with more of voice dynamics. In fact, it was not the full-throated Krishna that one heard that evening. ‘Tyagarajaya Namsathe’ (Dikshitar, Rupakam) that followed, was laced with swaras that showcased the raga’s colours. Sriram Parasuram’s interpretation of Begada was full of rakthi phrases. Kotiswara Iyer’s ‘Velayya Dayavillaya’ (Saveri, Adi) was impressive.

Bhairavi, the main item of the evening, throbbed with classical flavour. The nuances of the raga were well presented with absolute voice control. The lengthy akara phrases in a single breath was amazing. Sriram Parasuram’s delineation was accurate with clean bowing.

‘Upacharamulanu’ (Tyagaraja, Adi) was well interpreted. The swaraprastharam was directed more at embellishing the raga’s beauty than cheap mathematics. Veteran Umayalpuram Sivaraman guided the concert with his classy playing. His simple arudhis and the caressing of the valanthalai were an aural treat to the rasikas.

The chathusra nadai and tisra nadai patterns during the tani were mesmerising. B. Srisundarkumar (ganjira) played with agility, enlivening the tani.

Though the generally full throated Krishna was found missing, the concert was worthwhile.

Being his first concert for this December season, T.V.Sankaranarayanan began with the sloka ‘Gajananam Bootha Ganathi Sevitham’ in Hamsadhwani. Ganapathi Sachithananda’s ‘Jaya Jaya Ganapathi Mangala Kari’ (Adi) that followed inspired Sankaranarayanan to pour out swaras in the right dosage. His daughter Amruta Sankaranarayanan and son Sankara Mahadevan gave him vocal support. The three were in perfect unison in the Syama Sastri kriti, ‘O, Jagadamba’ (Anandabhairavi-Adi). Mahadevan has a powerful voice and Amruta’s is full of grace.

A lucid elaboration of Purvikalyani led to Vedanayagam Pillai’s ‘Karunakara Moorthy’ in Rupakam. Sankaranarayanan showered phrases that were fresh with his uninhibited open-mouthed singing. Nagai Muralidharan (violin) was totally involved to present a Purvikalyani to complement TVS’s effort. The swaras for this kriti was a mixture of jantai and dattu prayogas. The sarvalaghu patterns imbibed by TVS from his uncle Madurai Mani Iyer were impressive.

The Abhogi raga alapana was the toast of the evening. (Charukesi was equally gripping). TVS delved into new depths and found rare pearls for the benefit of the rasikas present.

In keeping with the Aiyappan season, TVS sang Periasamy Thooran’s ‘Harihara Sudhane Aiyappa Charanam’ in Adi with swara sequences that were intricate. A rare Dasarpadam ‘Sakala Graha’ (Atana, Kandam) was a sincere presentation.

Charukesi was a thristhayi sammelan with ruminative pauses between long karvais. Keeping the raga’s sanctity intact, Sankaranarayanan went on an expedition which knew no bounds. The result was a sparkling Charukesi in a new outfit. Nagai Muralidharan matched the vocalist’s exuberance. ‘Ada Modi’ (Tyagaraja-Adi) was the kriti with niraval and swaras in ‘Chaduvulanni Delisi.’ TVS continued with his innovative approach in the swaras too.

Srimushnam Raja Rao (mridangam) and V. Suresh (ghatam) had lively exchanges in the brief thani that was followed by viruttams that comprised Divya Prabandam verses (Desh and Hamsanandi)) and a Tamil sloka on Lord Muruga ( Brindavani) penned by TVS himself. The concert concluded with ‘Kaliyuga Varadan’ (Brindavani-Thooran-Adi). On the whole it was an off-beat concert in song selection, raga interpretation and swara singing.

Printer friendly page  
Send this article to Friends by E-Mail