Vocal : Sreevalsan J Menon
Violin : Charulatha Ramanjuam
Mrudangam : K U Jayachandra Rao
Ghatam : M A Krishnamurthy
01 SlOkam ( Om namO bhagavatE vAsudEvAya) – thODi
erA nApai ( varNam) – thODi – Patnam Subramanya Iyer
02 rakshamAm sharaNAgatam- gambhIra nAttai – Minakshisuta ( O,S )
03 vina rAdA nA manavi – dEvagAndhAri – Thyagaraja ( A )
04 vAsudEvaani – kalyANi – Thyagaraja ( A,N,S )
neraval & swara @ ‘rAga tALa gatulanu pADucunu’
05 kari kaLabha mukham – sAvEri – Dikshitar ( A,S )
06 bhOgindra shAyinam – kuntaLa varALi – Swati Thirunal ( S )
07 intha sowkhya mA ninE – kApi – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ svara rAga laya sudhArasamandu’
08 Etara cheluvE rangayya ?? – ? – Purandara Dasa
09 karuNa cheyvAn enthu – yadukula kAmbOji – Irayimman Thampi
10 sAgara shayana vibhO – bhAgEshri – MDR
11 ni nAma rUpamulaku ( mangaLam ) – saurAshtram / madhyamAvathi – Thyagaraja
A cracker of a concert by Sreevalsan Menon and the team at the Heritage Academy Hall. I would mention the team again, for some wonderful accompaniment they provided to lift the concert to a different level. Both Charulatha and Jayachandra Rao were spectacular through out the evening.
The team came into the groove with the varNam and the swara of gambhira natta kriti gave the initial glimpses of what was in store for the evening. First alapana came vide a very emotive devagandhari, albeit short, notwithstanding the humming of gambhiranatta he did earlier. Devagandhari was all pleasing so was Charulatha’s return. But the spontaneous start of the kalyani alapana at a fantastic take off point set the day to a different level. He chose to sing largely at the higher octaves during alapana. Charulatha’s return was apt and more traditional. Vasudevayani brought smiles to many , even those on the stage. As expected it was brilliant. The faster paced neraval and the swaras that followed in the second speed were classy.
Saveri alapana continued the good form from the concert, with an equally brilliant return from Charulatha. Kari kalabha mukham followed with some good rounds of swaras. Filler, kuntala varali was added with few quick rounds of swaras.
Kapi alapana came in all the ‘sowkhyam’ that can be asked for. An outstanding effort from the singer and even greater response from the violinst. True to the feel of the raga and the kriti, Intha soukhya was beautifully rendered. The neravals and the two paced swaras were fabulous. Charulatha was brilliant in her turn, and was given ample chances to show her mettle.
Percussion, especially, Jayachandra Rao , had a field day. He was fabulous through out the day. His anticipation, some subtle right hand ( he is a left handed player) variations, the special lifting effects that he deployed at appropriate times did influence the overall effectiveness of the concert.
Post main had a beautiful devarnama. It had a folkinsh kind of tune ( was it pahadi ?) and was very catchy and pleasing. Karuna Cheyvan was a request which I thought was sung a notch faster. MDRs bhageshri kriti concluded a fantastic evening of music.