Well articulated concert
POISE, PEACE and divinity, fast disappearing in current day carnatic music, was refreshingly present in abundance in T. K. Ramachandran's concert for Hamsadhwani.
He has a thin shariram and with skilful articulation and use of such syllables, idioms and phrases which help easy rendering and create a reposeful atmosphere, the artiste left a pleasing impact on the discerning audience who had braved an inclement weather.
To match his style of singing the artiste found ideal violin support in Charumathi Raghuram who played with quiet efficiency.
Her answers were striking and effective both in neraval and swara duels.
Ramachandran's programme gave representation to most of the vaggeyakaras, beginning from The Trinity to present age Papanasam Sivan. K.R. Ganesh (mridangam) excelled in a tani avartanam with skilled teermanams.
A concert full of vigour, vitality and class earned kudos for the singing trio, Washington Prithvi Mohan, J. V. Deepak and A. Rohit, their guru Lalitha Sivakumar, who was honoured on the occasion, had every reason to feel proud of the performance. The concert held under the guru-sishya series for Hamsadhwani lasted for nearly three hours and an appreciative audience stayed on.
The trio sang a dozen compositions and the list included the rarely sung "Koniyadina" scripted by Veena Kuppayyar, a disciple of Tyagaraja, with charming chittai swaram in Khamboji.
Deepak and Prithvi Mohan rendered a well-chiselled alapana. The neraval and swaras by the trio quite matched. After this song the triple raga (Keeravani-Saraswati-Jaganmohini) RTP was taken up.
As is her wont violinist Hemalatha gave a most inspired support. Neyveli Narayanan's loud and melodic beats on the mridangam and Madipakkam Murali's more subtle effort on ghatam contributed no less to the success of the concert.
The inclusion of several not frequently heard songs gave added value to Sreeram Groups sponsored concert by Savitha Sreeram. The list included "Siddivinayaka" (Nattai-Parthasarathy) Dikshitar's "Sri Sukrabhagavantam" in Paraz and "Kanden Kanden" (Arunachalakavi).
Savitha has a thin and soft voice which is pliable generating sweet brigas and gamakas. There were a few decorative phrasings and idioms in the Kharaharapriya (with a dash of Sruti Bedha) for Tyagaraja's "Korisevimparare", with a brief neraval and measured swaras at the charanam. Dikshitar's "Tyagaraja" was rendered with clear diction, with no attempt at gimmicks, in Begada.
The artiste touched peak form and Swati Tirunal's "Pankaja Lochana" (after a detailed Kalyani alapana) was delightfully essayed. The swaras gave charm and had a ring of rhythmic precision. The kriti is set to Misra Chapu.
"Smarane Onde Salade" (Kalayamarutam Purandara)
Uthukadu composition in Nilambari, "Gayati Vanamali" (Sadasiva Brahmendra), "Evanipogadadura" (Veeravasandha-Tyagaraja) and a Lalgudi tillana in Revathi gave variety to the programme. The finale was a fitting one - mangalam in Surati by Papanasam Sivan.
Roopa Natesan (violin) and Kumbakonam Ramakrishnan (mridangam) did their roles well enough. KSR
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