Vocal : Cherthala Ranganatha Sharma
Violin : B K Raghu
Mrudangam : A V Anand
Ganjira : N Amrit
01 senthil vAzh murugayya (varNam) – hamIr kalyANi – T R Subramaniam ( O )
02 cherarAvadEmirA – rItigauLa – Thyagaraja ( S )
03 kAmAkshi bangAru – varALi – Shyama Sastry ( A,N,S )
neraval & swara at ‘shyAm krishNa paripAlini shUlini’
04 maruvakadaya mOhananga nApai – mOhanam – Garbhapurivasa
05 shAradE vInA vAdana viSAradE – dEvagAndhAri – Papanasam Sivan
06 bhOgindra shAyinam – kuntaLavarALi – Swathi thirunal
07 kamalAmbAm bhajarE – kalyANi – Dikshitar ( A,N,S,T )
neraval & swara @ ‘ kamalAvANI sevita pArshvAm’
08 rAma manthrava japisO – jOpuri – Purandara Dasa
09 viruttam ( kunitha puruvam..) – rgamAlika ( sahAna, sAvEri, behAg)
itu tAnO thillai sthalam – behAg – Gopalakrishna Bharathi
10 hari guN gAvat nAchUngi – patdIp ?? – Meera Bhajan
11 tillAna ( dhia tana ta dhim tana tana dhIm) – pahADi – Lalgudi Jayaraman
12 mangaLam – saurAshtram – thyagaraja
Yet another good concert by Cherthala Ranganatha Sharma, yesterday at BTM Cultural Academy. His selection of kritis , the near perfect raga alapana, the powerful macho voice and his classy mannerisms on the stage were as impressive as always.
TRS varnam in hamir kalyani set the tempo, and a nice reetigaula came soon. It is with the swara singing of reetigaula, the concert really warmed up, with the other participants merging in to the scheme of things. I thought the way he ended the swaras of reetigaula was brilliant. Varali alapana was crisp and measured with a decent return by Raghu. The Shyama Sastri kriti that followed was good. Neraval was marred by the the unpleasant interlude by the mike-man. Disturbed the proceedings regularly through out the neraval of varali, causing displeasure to all. The man on audio with moustache covering 50% of his face was constantly giving jitters through out the concert until an unknown phone call took him outside the hall for a brief time. So much was the trouble, Amrit decided to do away with the mike and played without any ‘direct’ amplification support. The swra that followed was classy.
A chain of shorter kritis followed in succession before the main, which I thought was no an intelligent selection. Having only one alapana before, he could have chosen to sing a short alapana or a round of swarams to one of the kritis. Kalyani came in as main, for a change, I was glued in till the end of alapana. Very soothing, appropriate and traditional fare of kalyani flowed, with an impressive reply from Raghu. Dikshitar kriti was expected to follow looking at the previous selection of kritis. Kamalambam Bhajare came in with al its grandeur. The neraval and the swara that followed were very classy. Through out Kalyani, B K Raghu was in brilliant form.
Veteran ‘South-paw’ and Amrit , then presented a fabulous tani avartanam. Absolute gems of patterns with his nimble fingers, AV Anand lead the way with his shishya and arguably the best ganjira player in Bangalore to a brilliant percusion support.
Post main, was notable for the viruttam, especially the sahana and saveri parts.A Meera bhajan and the pahadi thillana concluded a good concert by Ranganatha Sharma.