Vocal : Ranjani & Gayathri
Violin : Charulatha Ramanujam
Mrudangam : Tumkur Ravishankar
Ghatam : Tumkur Sashishankar
01 sAmi ninnE – SankarAbharaNam – Veenai Kuppaiyer ( S )
02 sarasijanAbha sOdari – nAga gAndhAri – Dikshitar
03 ninnu jeppa kAraNamEmi – mandAri – PAtnam Subramanya Iyer ( A,S )
04 vazhi maraittirukkudE – nAtakurinji – Gopalakrishna Bharati
05 kaligiyuNTE gada – kIravANi – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ bAguga srI raghu rAmuni padamula’
06 mAra vairi ramaNi – nAsikAbhUshaNi – Thyagaraja
07 RTP – sahAna – khanda jati triputa ( purvangam in tisra gati and uttarangam chaturasra gati)
pallavi line ” ‘ ini oru kaNam unai maravEn, inakula tilakA’
ragamalika swaras in sahAna, srI ranjani , mOhanakalyANi, hindustAni kApi, sindhu bhairavi’
08 viruttam ( nADiya poruL kai koodum) – shaNmukhapriya, vasantha, dEsh – ?
rAma nAmamE tudi manamE – dEsh – Tanjavur Shankara Iyer
09 srI kAntha enagistu – darbAri kAnaDa – Purandara Dasa
10 abhang (sadA majhE DOlA ?? ) – misra malkAuns – Thukkaram
11 mangaLam – saurAshtram / madhyamAvati – Thyagaraja
I missed the first 4 days of the series and was hoping to listen to a good concert at the new hall. I should say, the concert was pretty impressive. Sankarabharanam varnam was accompanied with a short rounds of swaras. Naga gandhari kriti was sung beautifully, immediately after the varnam. First alapana of the day came very soon. Initially, I thought it was poorvikalyani and the confusion of pantuvarali was always there. It took a while for me eliminate the possibility of both pantuvarali and purvikalyani. To me, the third choice was mandAri and that , it was. Alapana, was just ok ( or I was too pre-occupied with Purvikalyani and Pantuvarali to enjoy) and so was the violin return. It was Patnam Subramanya Iyer’s ‘ninnu jeppa’ was good and the faster round of kalpana swaram was very good.
Gopalakrishna Bharati’s natakurinji kriti was announced next, and she explained the legend about the nandi blocking his view from the seeing the deity. Kriti was rendered very slow, with full beauty of natakurinji. To my displeasure, the duo selected to sing in two shruti, one at the lower octave and the other at the higher. Some how, it lost the aesthetic appeal and was more of a distraction. This was done at a couple of places, to my discomfort.
Keeravani was the main. Gayathri ( I think the one sitting near the violin is Gayathri), presented an outstanding alapana of keeravani. Very melodious, bhava-laden singing of alapana , was one of the best I’ve heard in the recent times. Charulatha, on her turn was equally brilliant. No surprise on the selection of kriti. The kriti was sang very well, neraval was again outstanding, kalpana swarams were very well executed. Tumkur Ravishankar with his brother ( that makes two sets of siblings on the stage) gave a good tani. Ravishankar was very good through out, with a lot of anticipation, following the kritis. I still think the amplification level of the mrudangam was a dot higher.
Requests poured on to the stage from all directions, with young boys and girls were marching up and down with piece of paper. Some of the requests were a bit off-timed like ‘pankaja lochana’ etc. However, they obliged singing nasika bhushani kriti ‘mara vairi rmani’ before the pallavi.
Sahana alapana was good, but wasn’t as great as the previous keeravani. tanam was pretty good. Pallavi was slightly tricky with two different nadais in the ‘purvangam’ and ‘uttarangam’. The nadai change was only for the pallavi, and they moved to the regular nadai with the swaras. Ragamalika swaras were again brilliant, especially the kApi and sindhu bhairavi. Charulatha’s playing of sindhu bhairavi was also great.
Post main, possibly, would have been dedicated to the requests. Desh and darbari kanada kritis were pretty good. Their concert can not end without an abhang. There might have been many requests for one. Luckily, this one was not the typical ‘vittala vittala’ trance singing. A good concert with an outstanding ‘keeravani’ and a good pallavi.