MUSIC ACADEMY
Rich aural treat
CHARUKESI
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While Aditya Prakash’s rendition of Abhogi was wholesome, Jayaprada’s Kharaharapriya was blemishless.
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Photos: V. Ganesan
Pleasing notes: Aditya Prakash (below) and Jayaprada.
Young Aditya Prakash opened his ‘Durbar’ with a ‘Chalamela Jesevura’ varnam to proclaim that he is a concert artist too. He utilised the opportunity to prove his credentials as a vocalist in his own right. A regular in the Bharatanatyam orchestra, he has an added advantage in rendering alapanas and niravals. That was very much evident in Aditya’s clear rendition of Abhogi and Thodi. He has an excellent voice that is pleasing on the ear. Adit
ya Prakash rendered ‘Dayajooda Samayamithe’ in Jaganmohini (Syama Sastri) and ‘Vandhe Sada Padmanabham’ in Navarasa Kanada (Swati Tirunal) among other items, at a leisurely pace.
For Mysore Sadasiva Rao’s Abhogi kriti, ‘Neekeppudu Dayavachunu,’ Aditya sang alapana, which was neither short nor lengthy. But he gave a feeling of a wholesome presentation of the raga. He did not resort to singing niravals too, in the process of rendering the kriti. He only sang swaras for the line ‘Samayamu Juchi’ but that had all the ingredients to qualify for a rich fare. He kept all his energy in reserve to explore raga Thodi in its complete form. It was his imaginative skill that helped him to harvest the best sangatis that are essential to the majestic raga, before presenting the kriti ‘Arakimpave’ of Tyagaraja. Parur M.S. Anantharaman, the violinist, had a few slips, but managed to retrieve the ground quickly to present his version of Thodi. Aditya took the anupallavi line ‘Saramaina Divyannamu’ for niraval and followed it up for swaraprasthara when he had scintillating exchanges with the violinist spurring each other to excel. Mridangam accompaniment by Thillaisthanam Suriyanarayanan was splendid throughout and the thani of course, was superb. Aditya Prakash completed his performance with the ragamalika ‘Kannanidam Eduthu Solladi’ and the Meera bhajan ‘Chalo Man Ganga Jamna Theer.’
Music is running in Jayaprada’s genes, as her mother Prema Ramamurthy is a gifted singer. No wonder she made a memorable finale by her flute recital to end the season’s afternoon concerts. Once the usual varnam in Khambodi got over, she took up the Hamsadhwani piece ‘Raghunayaka’ with an array of swaras. Her alapana of Kharaharapriya was without any blemish and in the kriti ‘Rama Nee Samanam Evaru’ she used the charanam line ‘Paluku Palukulagu’ to dwell on the niraval and swara phases. In the Vasantha raga alapana for the kriti, ‘Brihadambikaiyai’ of Muthuswamy Dikshitar, violinist V.L. Sudarshan was a shade better than the flautist. Before launching Kalyani raga alapana, which was really good in terms of manodharma, Jayaprada played ‘Parvati Ninnu’ in Kalgada.
The Kalyani kriti of Tyagaraja, ‘Etavunara’ gave ample opportunities to her in the anupallavi line ‘Seetha Gowri Vageeswari’ for detailed niraval and swaraprasthara. Mannargudi N. Subramanian closely followed Jayaprada’s kriti renditions with alertness. Yet at the end-portions at times, he was tentative in his rhythm, as flautists normally play in bits and short notes of swaras while concluding, that could confuse percussionists. His thani avarthanam was, however, an excellent display of skills. Jayaprada played the Kapi raga song ‘Enna Thavam Seidanai’ and ended the recital with a Madhyamavati piece.
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