Vocal : Malladi Brothers
Violin: B U Ganesh Prasad
Mrudangam : Patri Satishkumar
Ghatam : Giridhar Udupa
01 taruNi ninnu (varNam) – kAmbOji – Fiddle Ponnuswami Pillai ( O )
02 srI mUlAdhAra chakra – SrI – Dikshitar ( S )
03 evvarE rAmayya – gAngEyabhUshaNi – Thyagaraja ( A,S )
04 paripAlayamAm – rItigauLa – Swati Thirunal ( A,S,S )
neravla & swara @ ‘ tAmarasAyata lOcana cArutanO dharaNIdhara dharavana’
05 Siva Siva Siva enarAdA – pantuvarALi – Thyagaraga
06 RTP – kIravANi – miSra jAti tripuTa , 2 kaLai , starts at 1 beat afer samam
pallavbi line ‘ Ananda pUrNAmOdam shivOham satchid-ananda…’
ragamalika swaras in kIravAni, kEdAram, amrutavarshiNi, shivaranjani, hamsAnandi
07 nAnoru viLayAttu – navarasa kannaDa – Papanasam Sivan
08 dEvaki nandana nanda mukundana – bhAgEshrI – Purandara Dasa ( O )
09 charaNamuLe nammiti – kApi – Bhadrachala Ramadas
10 intha kaNTE ganamikalEtu – surutti – Annamacharya
11 viSwEswar darshan kar – sindhu bhairavi – Swathi Thirunal ( O )
12 SLOkam ( anjanA nandanam vIram jAnakI shOkanAsanam) – dEsh
srI hanumAn jai hanumAn – dEsh – ??
13 mangaLa SLOkam ( mangaLam kOsalEndAya) – madyamAvati
What was in my mind at the end of the concert was one question. All the artists were good and they presented a good concert. The selection of kritis were good and the way it was presented was also good. However, there was some thing that was missing in the session. There seems to be a lack of energy in the whole evening. Partly due to the continuous experimentation the ‘mike man’ was trying through out the concert. That little element of energy could have lifeted this concert to a very different level.
It took more than 10 mins , after the curtains were up, to start the concert. They were trying various combinations of settings and none of the artists seems to be happy. The majority of the time, they were glancing at the ‘mike-man’ on the first floor, instead of having the eye contact with the audience. Once you set the levels of Ravikumar’s mike to an acceptance level, you see the violin volume dropping considerably. Giridhar Udupa was lifting his hands to heaven in desparation. The PA speakers were followed a sinusoidal pattern often loud and suddenly dropping.
Having said that , the actual kritis that followed were good. A not often heard varnam in kamboji, a brilliant set of swaras for Sri, good gangeyabhushani alapana by Ravikumar with a superb reply by Ganesh Prasad. Gangeyabhushani continued with some short rounds of swaras. Ritigaula alapana was short and did not have a violin return. Paripalayamam wasw good, with the faster paced neraval at ‘tAmara sAyaka’ , the swaras were interesting too.
After a quick filler of Pantuvarali, Sriram Prasad started the keeravani alapana. The initial 5-6 minutes, I thought, were bliss. Beautifully, built up and progressed , but did not extend the same till the end. Ganesh Prasad was good in his return. Both tanam and pallavi were very good with trikalam and ragamalika swaras. Kedaram and Shivaranjani swaras especialy were very good, with some beautiful return by Ganesh Prasad.
This was the third consecutive concert with BU Ganesh Prasad being the accomanying artist. I was not very happy with the previous two concerts. However, I found him very good last evening. His gangeya bhushani, the way he followed the main artists, his replies to the neraval and swaras were all very nice. Patri Satishkumar was very good as always. He was especially brilliant during pallavi. The two established percussionist gave a good tani avartanam at the end of the pallavi.
Post main were the typical fair, with Annamacharya, bhadrachala Ramadas and Purandara Dasa kritis. Surutti and Sindhubhairavi pieces stood out, before the mangala slokam. A decent concert, but lacked the energy to make it memorable concert.