|
Music Season
NALINAKANTI
Formidable combo
G.SWAMINATHAN
|
Sikkil Gurucharan’s perseverance to excel was evident in every aspect of his presentation. Shreyas Narayanan’s concert was straight but lacked finesse.
|
Engaging recital: Sikkil Gurucharan
There was a discernible sparkle of youth backed by endearing talents in the vocal concert of Sikkil C.Gurucharan. His winsome disposition and perseverance to excel were evident in every aspect of his presentation in the highly supportive company of Nagai Sriram on the violin, J. Vaidyanathan on the mridangam and K.V. Gopalakrishnan on the kanjira. It was an engaging team work where each one contributed sincerely and effectively. The two core items of Gurucharan’s concert were on Lord Subramanya. An elaborate essay of Poorvikalyani replete with swirls and glides was followed by Arunagirinathar’s Thiruppugazh, ‘Marukkulaaviya.’ The tongue-twisting verses flew as steady streams of crystal clarity with commendable niraval and swaras on the line, ‘Tharukkulaaviya Kodi-idai Manavaala Samartthane Mani Maragatha Mayil Veera.’ The reposeful phrases, missed out in the alapana, were perhaps reserved for this section and they were consciously integrated in the niraval adding further lustre to the entire Poorvikalyani package.
The main Khambodi was a picture of perfection. Phrases loaded with bhava, sancharas with skilful connectivity of all the regions and right proportion of ornamental inflections elevated Charan’s essay to suit his choice of Muthuswami Dikshitar’s oeuvre ‘Sri Subramanyaya Namasthe.’ Charan once again came up with smart delivery by adding a perfect trikalam format at the pallavi as it generally becomes the mandatory sangatis of it.
The kalpanaswaras sans niraval at ‘Vasavadi Sakala’ were centred on dhaivatam with swift switching over of nadais towards the rounding off.
Gurucharan’s swaras never take vague detours of wry syllables but delight the listeners like showers of fresh rain.
The other catchy numbers of the concert were ‘Seethamma Maayamma’ in Vasantha, ‘Orajupuju’ in Kannadagowla and ‘Nee Daya Rada’ in Vasanthabhairavi.
Shreyas Narayanan.
Nagai Sriram-Gurucharan is a formidable combination. They supplement and complement each other resourcefully. At times, Sriram surprises the vocalist and the audience by adding extra charm to his versions while following the vocalist’s idea. J. Vaidyanathan’s percussion on the mridangam with Gopalakrishnan on kanjira was a nourishing one to the vocalist. Their quiet but conspicuous support waited for the thani to create a delectable rhythmic revue.
It is difficult to find out the downside of Shreyas Narayanan. He has a robust voice with volume but not fully under control. His presentations are straight but lack finesse. His diction is clear but strident. All these affect the ultimate output.
Shreyas Narayanan began with the Begada varnam and followed it up with ‘Pranamamyaham’ in Gowla. There was an aborted alapana of Hindolam for ‘Saraswati Vidiyuvathi.’ There were raga expositions of Latangi (‘Pirava Varam Tharum’) and later Hamirkalyani (‘Manamu Leda’). But all these numbers carried only a synthetic flavour and marginal approach. If Shreyas Narayanan could pay special attention to the aspects mentioned earlier, his programmes, in the future, may have better appeal.
In such instances it is unfair to expect the accompanists to bolster up the quality of the concert. Mysore Srikanth and Mannarkoil Balaji on the violin and the mridangam respectively just followed the vocalist’s listless performance.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
