Vocal : Pattabhirama Pandit
Violin : Mysore M Nagaraj
Mrudangam : Arjunkumar
Ganjira : Guruprasanna
01. chalamEla jEsi ( varNam) – nAtakurinji – Rangaswamy Nattuvanar ( S )
02. srIpatE nIpadA – nAgasurAvali – Thyagaraj ( S )
03. kannulAra kaNTi – dhanyAsi – Walajpet Venkataramana Bhagavathar ( A,N,S )
neraval @ ‘rAmakrishNa hari hariyani nAmakIrtanam sEyucu’
swara @ ‘ hari hariyani’
04. paridAnamichitE – bilahari – Patnam Subramanya Iyer ( A,N,S )
neraval & swara @ ‘ rokkamichutakunE mukkaNTi celikAnu
05. tanayuni brOva – bhairavi – Thayagaraja ( A,N,S,T )
neraval & swara @’ vatsamu veNTa dhEnuvu canunO‘
06. maru bAri ( javaLi) – khamAs – Dharmapuri Subbarayar
07. SLOkam ( nArAyaNa nAma pArAyaNam) – behAg
kaNDu dhanyanAdE uDupi krishNana – behAg – Kamalesha Vittala
08. thilAna ( tAnOm tana ta dhiraNA ) – parAs – Ramanathapuram Srinivasa Iyengar
09. mangaLam – saurAshtram – Thyagaraja
SLOkam ( mangaLam kOsalEndrAya ) – madhyamAvathi
Until yesterday afternoon, I did not know about this concert. If not for the insistence of Pramod, I would have skipped this. For one, I am not too eager to listen to yet another keeravani ( my luck with PRP is that everytime I attend it will be keeravani in one form or other – kaligiyunte or a pallavi ), similar to the kAmboji and TVS ( this has been improved of late). So, I made up my mind that if it is keeravani again, I will walkout ( not physically, but mentally from the concert). All my apprehensions were removed by the artist with a refreshing concert, ably accompanied by the stalwarts in their own instrument.
The gate of BVB was guarded by large number of police and red-light cars. The kincha auditorium was aptly decked up and the area was scattered with few overly dressed ( for a carnatic concert) gentlemen and a red-carpet pathway. One of them was eager to invite us to few of the front seat reserved for VIPs. Something was amiss. Governor Bharadwaj’s name was flickering on the screen. We had to escape immediately and find the right hall. Some one requested to to be seated for ‘at least five minutes’. That would have been a different kind of music. But the good sense prevailed and we escaped to the ‘actual concert hall’. It wasn’t better here either. As usual, we were seated at the last row ( third from the front) when the concert started after a lot of issues with the amplification. It was getting late, and the artists decided to begin. PRP was humming natakurinji for fifteen minutes, so was Nagaraj. A brisk varnam extended to few rounds of swara was with very awkward setting of amplification. High on percussion and zero on violin.
At this stage, PRP took a clever decision. Looking at the number of people in the audience, he requested all to move front near to the performers and removed all the mic and amplification. Given the state of affairs, that would have been the best solution. The concert from then continued san artificial enhancement of voice and instruments. PRP does not have a strong booming voice, hence at the early stages it was a bit difficult to listen to him. However, as the day withered and darkness grew outside, the general sound levels also reduced and the concert was much more enjoyable from that point.
On his part PRP gave a splendid concert. Detailed and brilliant alapanas for both dhanyasi and bhairavi with equally classy returns from Nagaraj was very pleasing. The neravals for dhanyasi, bilahari ( albeit very short) and bhairavi) were very good and the kalpana swaras in general were top class. Interestingly, the turn of Nagaraj was extended through the prompt by the singer, to some great effect. Anchoring around ‘ga pa da’ for dhanyasi, he sang some excellent extensive swaras repeated brilliantly by Nagaraj. A similar attempt was tried for bhairavt, at ‘pa da, ma’ to a much lesser effect.
Percussion with Arjunkumar and Guruprasanna as expected was very active. Probably a bit restraint would have made it more appropriate. Especially for the bhairavi piece, where he sang with such bhava, the percussion was at times not carrying the same cause. However, the duo played a classy tani avartanam. Post main had a javali and his ‘guruvandana’ slokam following a devarnama which was very impressive. Concert ended with a paras thillana before the mangalam.
Despite the poor attendance, and a mic-less performance, the concert was very good.