Vocal : Abhishek Raghuram
Violin : B U Ganesh Prasad
Mrudangam : B C Manjunath
Morsing : Pramad Kiran
01 varNam – kAnaDa ( I came in towards the end of Varnam)
02 tuLasI dala mulacE – mAyAmALavagauLa – Thyagaraja ( O , S )
03 evaraNi – dEvAmrutavarshaNi – Thyagaraja
04 kOrinavara mosagu – rAmapriya – Patnam Subramanya Iyer ( A,N,S )
neraval & swara @ ‘ sarivarilOna nannu chouka sEya valaDu nIDu’
05 brOvavamma bangAru – nIlAmbari – Shyama Shastri ( O )
06 sarasa sAma dAna – kApinArAyaNi – Thyagaraja ( O )
07 kari kaLabha mukham – sAvEri – Dikshitar ( A,S,T )
08 uLLavaru shivAlaya mADuvaru – durga – Basavanna ( O )
09 sarvam brahma mayam – madhuvanti ? – Sadashiva Brahmendra
10 AdidEva paramAtma – sindhu bhairavi – Annamacharya
11 mangaLam – saurAshtram – Thyagaraja
A very serene, poised and composed concert by Abhishek Raghuram yesterday at the Nadasurabhi. It erased all the bad memories of Odukathur Concert. An outstanding Ramapriya and a good Saveri main were the picks of the day.
I reached while the varnam was concluding. The hall was packed and the chairs outside were also nearly full. I managed to secure a seat under the canopy of a tree, able to get a distant view of the artist inside the hall. Amidst various ‘surround sounds’ in the form of cooing birds ( it wasnt the typical chirping) , screching motor cycles, starting of a diesel engine, desparate honking of the cars in hurry ( a near commotion at the gate due to the parkings of vehicles) , the small amplifying speaker was barely audible. Abhishek mving to and fro during alapana made the listening even harder.
All that is forgotten for the briliant music that followed. A good set of swara with none of his usual diversion made the mayamalavagaula enjoyable. A quick evarani followed before a fabulous ramapriya alapana. He was at his best with a very controlled, orchastrated to the precise effect, progressing beautifully through the alapana. Patnam Subramanya Iyers master piece was sung very wel with some brilliant neraval. After a fast paced peaking of neraval, he continued with a few rounds of lightning fast swaras before settling back to the typical two speed swara variations. I thought he did this brilliantly.
Both Nilambari and kapi narayani were good as fillers. However a short alapana or a round of swara for either one of them would have been appropriate for the overall effect, as there was only one neraval and only two alapana in the whole concert. His short sketches for both neelambari as well as kapi narayani were very seductive , I was hoping to hear a longer version of alapana.
Saveri main was also great. A long alapana, with restraint ( without getting into the discomfort zone) , he build it up step by step. Very measured and focussed and very well done. B U Ganesh Prasad was just ok in his turn. His accompaniment in general was just adequate, as I felt in the Ramakrishnan Murthy’s concert. I am likely to listen to him again next week, where he is set to follow Malladi Brothers at Indiranagar Sabha.
Kari Kalabhamukham was a surprise to be taken up as main, instead of other established kritis )I have no qualms against a ganesha kriti to be taken up for main slot). There was no neraval, he did a good round of swaras before handing over to Manjunath. Tani avartanam was very good. Manjunath did a good job supporting the main artist with some great anticipation and some smart interludes.
Post main consisted of a Basavanna vachana in durga and a couple of pieces, concluding a very good concert by Abhishek Raghuram.