NAADA INBAM
Striking Shanmukhapriya
G. SWAMINATHAN
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There were slips in Manimaran's voice initially but the Shanmukhapriya alapana found him back in form.
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Photo: E.Lakshmi Narayanan.
V.K. Manimaran.
V.K. Manimaran's concert was initially rickety as some swaras slipped into the neighbouring grooves due to lack of control.
Maran took control of the reins once he took up Nagaswarali kriti, `Sri Sankara Guruvam' with some perky swaras.
`Varuvaro Varam Tharuvaro' in Sama nudged him into better slot. It was the Shanmukhapriya alapana that completely turned things around.
From the first stroke Manimaran started freewheeling on the sancharas with dignity.
His smooth flights nurtured poignancy and akaras and brigas stepped in the right junctures to make the treatise complete.
The swara portion for a Tamil verse, `Then Ena Inikkum Thiruvarutkadale,' was conspicuous because of its brevity. A dainty "Marivere Gati' in Anada Bhairavi and the speedy `Niravathi Sukatha' in Ravichandrika tiled the way for an elaborate Purvikalyani.
Maran by then got into his form and deployed his robust vocal prowess to gather the choicest phrases in proper flow.
A genuinely sincere, competent and aesthetic essay was energised with `Parama Pavana Rama' with all its fast-set sangatis and alluring chittaswaram. His pivoting swaras on the panchamam and the final round off was neat sans clamour and sound.
Vellore Ramabhadran proved how calculated and soft rhythmic designs could enhance the quality of a concert.
His supple sounding solo thani avartanam was an exposition of his scholarship.
V.V. Ravi on the violin lived up to his role of a helping accompanist as his support in the earlier shaky part and later on the steady state were marks of his understanding of the concert dynamics.
Two other numbers were striking, `Arul Seyya Vendumayya' in Rasikapriya in the beginning and `Karpooram Naarumo' in Khamas towards the end.
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