VOCAL With a voice that has retained its bronzy timbre, Srikantan offered music of a high class.
A VETERAN PERFORMS: R. K. Srikantan. Photo: M. Karunakaran.
Octogenarian Rudrapatnam Krishnasastry Srikantan's Hindolam in his concert for Kalakshetra may not be credited with great inventiveness, but it was a fantastic piece of music.
The veteran's voice retains its bronzy timbre and, like a genie out of a bottle, the raga rose gloriously, hugging Malkauns all through its romantic lilts. One wondered whether the Malkauns-touch was by design or destiny, but the effect was intoxicating.
When the old man's voice couldn't ring out quite well in the upper octave, Srikantan's son, Rudrapatnam Ramakant, took over and did the needful.
Annamacharya's Deva Devam Bhaje appeared with some grand sangatis, but unfortunately there were no swaras.
The Hindolam was perhaps meant to be a minor feature in the concert, but it turned out to be the highlight.
Earlier, Srikantan and Ramakant offered a lovely Poorvikalyani, Tyagaraja's ``Para Loka Sadhaname Manasa." It was sung with a finesse that could be expected of one who belongs to the great saint composer's lineage. Ramakanth supported the senior during the elaborate swara sequences.
The main piece was Kalyani. The alapana took off gallantly, but Ramakant had to takeover midway to give the elder some respite.
Dikshitar's ``Bhajare re chitta" in misra chapu was delivered well, with nereval and swaras at `nijarupa.' However, towards the end it became a noisy affair with mridangist J Vaidyanathan's well powered strokes drowning Ramakant, who just wouldn't sing into the mike.
Two tailpieces in Kannada, Harikesanallur Muthaiah Bhagavatar's ``Easwari Rajeswari" in Aberi and Purandara Dasar's ``Ragiya tandira," completed the fare.
Violinist Sriram Parasuram did himself credit by playing appropriately, leaving no pause unfilled, yet not being intrusive. His raga essays were professional.
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