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RASIKA FINE ARTS

The concert began with ‘Ninnekori’ (varnam-Gaula-Adi-Kottavaasal Venkatraramaier). It was indeed a refreshing start. He sang the kriti, ‘Neeketeliyakapote’ (Anandabhairavi-Adi-Tyagaraja) preceded by a crisp raga alapana and fol lowed by a brief kalapanaswara. The kriti, ‘Evvareraamayya’ (Gangeyabhushani-Adi-Tyagaraja) was not given full justice considering the special character of the raga.

He sang Purvikalyani raga for his own composition (‘Brovasamayamide’ Bhoomijaramana-Adi). The kriti was crisp and effective. The raga alapana climbed up to tara stayi pancama and dhaivata all too quickly, which failed to bring the desired effect. Had he built up the move slowly to the climax, giving a chance to warm up his voice, he would have succeeded in bringing a better effect.

‘Manasu Swadeenamaina’ (Sankarabharanam-misra chapu-Tyagaraja) was the main piece with an elaborate raga alapana, short niraval and kalpanaswaras.

‘Seshamsasambhutam’ (Yamunakalyani-khanda chapu) and ‘Syama Sundara He Giridhari’ (Ahirbhairav-Adi), his own compositions lighted up the last part of the concert with their simplicity and lilting melodies. The concert ended with his own tillana (Kalyanavasantham-Adi).

At a time when one hears voices ‘crooning’ to suit the mike, it was refreshing to hear a naturally robust voice. But the singer would do well if he could pay more attention to modulation and sruti in making the best use of his voice.

R. Rahul (violin) gave excellent support to the singer. His raga elaborations were noteworthy. It was Ganapathy Raman (mridangam) who pepped up the concert with his brilliant accompaniment and showcased the artiste with all splendour. Guruprasad (ghatam) formed good team in vitalising the concert as a whole.

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