Giving voice to sahitya
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Venumadhav is a vocalist whose star is on the ascendant, thanks to his versatility.
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The tanam and the swaras in pallavi exhibited his potential
Melodious presentation Venumadhav.
Nada Bharathi’s constant endeavour has been to revive the rendition of Carnatic concerts in a traditional manner. This music sabha held a Sampradaya music festival at Thyagaraya Gana Sabha.
A Ragam-Tanam-Pallavi piece and a sloka were made a mandatory part of the repertoire.
The festival opened with a vocal recital by one of the most promising young musicians, Venumadhav, who is many a classical dancer’s vocalist of choice.
He is gifted with a mellifluous, virile and resonant voice besides being endowed with a great sense for sahitya.
His concert recently had all the parameters of a Sampradaya concert. Ragam-Tanam-Pallavi in Kalyani was a sheer delight , mirroring the artiste’s versatility .
Venumadhav chose Mohana as his Pallavi Raga, which was set to Adi Talam. The raga essay, Tanam, and the swarakalpana in the pallavi part reflected his positive approach and skill in entertaining the audience. Bharati, Bhagavati Vandanam was the pallavi line, which he presented in many sancharies. The Tanam and the swaras in pallavi exhibited his potential.
The artiste opened his show with a Bhairavi atatala varnam and followed it with a sloka of Annamacharya in Nata. Nadatanumanisam in Chittaranjani was next. Sadachaleswaram, a rare composition of Deekshitar in Bhoopalam, was another melodious presentation by Venumadhav. Himadri Suthe of Syamasastry in Kalyani and Ide Parabrahma in Reethigowla were also examples of his ability to render krities with Sahityabhava. Though brief, Amrutavarshini was his first essay. The kriti in it, Anandamruthakarshini, was enjoyable. He also treated Thodi in detail for Thyagaraja’s Aaragimpave. He presented this with nereval and swarakalpana.
At this stage, he took up the Ragam Tanam-Pallavi piece. Rajasekar on the violin lent good support throughout the concert with the vocalist’s musical phrases in raga or swara eliciting a good response.
Kapa Srinivasa Rao also proved to be a good hand at playing the mridangam .
His Tani with T.P Balu on ghatam was interesting.
Venumadhav concluded his recital with a ragamalika slokam and an Annamacharya kirtana, Akativelala. A big advantage with Venumadhav’s rendition is that he vocalises every word of sahitya with perfect intonation, a quality that other youngsters would do well to pick up from him.
G.S
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