Vocal : Sankaran Namboodiri
Violin : Charulatha Ramanujam
Mrudangam : H S Sudheendra
Ghatam : sukanya Ramgopal
01 namAmi vighna vinAyaka – hamsadhwani – Krishnaswamy Ayya ( S )
02 manavi nALakinca – maLinakAnti – Thyagaraja ( S )
03 smaraNe ondE sAladE – malayamArutam – Purandara Dasa ( A,S )
04 tUkkiya tiruvaDi – SankarAbharaNam – Sudhananda Bharati ( A, S )
05 Ehi mudam dEhi – Ananda bhairavi – Narayana Theerthar
06 saravaNa bhava – paSupati priya – Muthaiah Bhagavathar
07 VenkatEshA ninnu sEvimpanu – madhyamAvati – Thyagaraja ( A, N, S, T )
neraval & swara @ ‘ bhAgavata priya thyAgarAjanuta’
08 jaya jagadIsha harE ( sAi bhajan) – bhImplAs
09 bArO murArE – dEsh – Vadiraja Swamy
10 dEva banda namma ranga banda – behAg – Purandara Dasa
11 rAdhikA krishnNA rAdhikA – vAsanti – Jayadeva
12 thillAna ( dhim tana ta dhIm tana tana dhIraNA) – misra pahADi – Lalgudi Jayaraman
13 mangaLam – saurAshtram/ madhyamAvati – Thyagaraja
This was my first concert after a long gap and the expectations were huge. He did not disappoint, but I hoped for more. To me the highlight of the concert was an outstanding swara prasthana for naLinakanthi and a surprise main of Venkatesha ninnu in Madhyamavati.
Concert started with a hamsadhwani krithi on Vinayaka with a short set of swaras. Nalinakanti followed soon and the swara singing followed was brilliant, exactly reproduced by Charulatha in her turn. Malayamarutam was an average affair. Very short alapana, with no high points, and even ordinary rendering of kriti. He redeemed himself with few decent swaras, though. Sankarabharanam, came with such hopes as he announced the intended kriti, before alapana. Sankarabharanam alapana was good, and ‘tUkkiya tiruvaDi’ came with such a freshness. At ‘ethanayO piravi’ , you have a tremendous neraval line and the build up would have ben justified if he had sang a couple of minute neraval here, which was not the case. However, he continued singing kalpana swaras for Sankarabharanam.
Main Madhyamavati was a request, and I thought the alapana was very good. By now he was at his best and he was traversing the octaves at ease, and singing the bhriga laden ‘dhruta prayogas’ amazingly well. Alapana was very detailed and progressive. Charulatha’s reply was also commendable. Venkatesha Ninnu sevimpanu was a surprise selection, over the more common Palinchu Kamakshi or Rama Katha sudha. Neraval at bhagavathapriya was done very well, so was the kalpana swara that followed.
There was time for a pallavi and there were request sent across. However, he chose to sing a few kritis instead. Vadiraja composition set in Desh and the pahadi thillana were good. Some how, I could not connect to the vAsanti version of the ashtapadi.
Sankaran Namboodiri has a great voice and he uses it to the best effect. Very bhriga oriented style and effortlessly singing in all octaves especially during the alapana were very pleasing. While the concert was good, it would have gone a notch higher, had he included another neraval ( especially for the Sankarabharanam) or had a short pallavi to the list, since the there was ample time at hand ( the concert was just over 2:15hrs).