Vocal : Abhishek Raghuram
Violin : Charulatha Ramanujam
Mrudangam : Anantha R Krishnan
Ganjira : Guruprasanna
01 karuNimpa ( varNam ) – sahAna – Thiruvottiyur Thyagayya ( O )
02 duDukugala – gauLa – thyagaraja ( O )
03 entarANi tanakenta pOni – harikAmbOji – Thyagaraja ( A )
neraval & swara @ ‘ shESuDu shivuniki bhUsuDu lakSmaNa’
04 aparAdhamula nOrva samayamu – rasAli – Thyagaraja ( A,S )
05 sogasu jUDa taramA – kannaDagauLa – ThyagarAja ( S )
06 talli ninnu nera – kalyANi – Shyama Shasthri ( A,N,S,T )
neraval & swara @ ‘shyAmakrSNa paripAlini shUlini ‘
07 jAnakI ramaNa dasharatha nandana – kApi – Vanamali Jeeyar ( A )
08 sakhi prANA (jAvaLi)- chenchurutti – Dharmapuri Subbaiyer
09 vishvEsvar darshan kar – sindhubhairavi – Swathi Thirunal ( A )
This man apparently told the organisers that he may not be able to sing beyond two and half hours as he had to take the train back the same night. But, the music that out poured yesterday carried ‘itself’ ( and him) to more than 3 and half hours, made him cancel his train ticket and decide to fly back the next morning. That to me sums up the concert.
Some exquisite harikamboji, path setting rasali alapana, and new realms of kalyani and the culminating sindhubhairavi were made the Friday evening effort through the traffic and the early departure from office, worthwhile. Raising to the occasion the supporting artists made their immense contribution to the overall effectiveness of the concert. Charulatha deserves a special mention.
Slow start with the sahana varnam was quickly compensated with some brilliant display of his usual self in the gaula pancharatna kriti. Dudukugala is the only pancharatna kriti I like to listen to in a concert. Probably too much of ‘goshti gana’ mulled my enthusiasm towards pancharatna kritis. MDRs Nata and Sri singings are definitely an exception. Back to Gaula, I had been requesting few artists to sing a longer version of the gaula kriti with 7-8 mins of alapana and some rounds of fitting kalpana swaras. A wish, pending to be fulfilled.
He sang a short alapana of harikamboji, did not give time for violin to replay, but started a couple of ‘enta rANi’ lines in the right wordsplit before expanding to the full pallavi line. The alapana and the kriti has not much to talk about, but the neraval that followed was shear brilliance. Very very long with all that one can ask for in hari kamboji came in during the fantastic neraval with the rest of the crew chipping in to match his exuberance. A similar feat extended to the kalpana swaras. Pure blitz.
A pleasant rasAli alapana came next. Being not too familiar with this ragam, we had to wait until he started the kriti to close in on rasali. Heard Rudrapatnam Brothers siging it in detail once, and TVS in another occasion. Both the vocal and violin alapana was impressive. Few rounds of kalpana swaras were added. A fast filler in kannada gaula with a super fast swaras came in before the main.
Kalyani alapana started off in an unfamiliar terrain to me. A typical fair from Abhishek, extending and exploring the possibilities with in the raga and his voice range. Because it is kalyani, It is all the same to me :-). However, Charulata in her turn played much more sedate kalyani. More traditional, or should I say familiar, phrases and movements. Very impressive indeed. There was a short commotion before she started her turn. A few in the audience raised to leave and a momentary displeasure could be scanned in her face. This did not impact the overall crowd situation as more were standing out to get in and occupy the vacant seats.
Yesterday, being the remembrance day of Shyama Shasthri ( died on the 6th Feb, 1827), it was nice on his part to select one of his masterpieces as the main kriti on the concert ( having sang only Thyagaraja kriti until then). Another classy neraval came in at the predictable line. However, I was a bit uncomfortable with the word splits at times, when he sang ‘Shya – makr – SNapa -ripA-lini shoo – lini. He ‘shoo’ed away this soon with some imaginative phrases. On a lighter vein, the ‘shoo’ he did before repeating ‘shUlini’ looking towards Anantha brought some smile. The kalpana swaras, if I may use some adjectives, out of the world. Awesome and one of the best I’ve listened for a long time. He did a clever ‘graha bheda’ during the kalpana swaras.
There is always an unspoken understanding and reading of the mind between Abhishek and Anantha. There is always the right anticipation on the percussionists part on what the main singer is going to do and he seems to be ready for the same. Guruprasanna was as always in his best self. The tani avartanam started a bit low key, but got the attention with the second phase onwards.
A short , nice alapana in kApi gave pleasant jitters through the spine. It was 9:10 and the singer had just announced his cancellation of train ticket. He probably is planning to sing a pallavi. But, it did not last long. He started immediately the ‘Janaki ramana’ kriti without the violin return. Melodious Chenchurutti Javali came in before another gem of a sindhu bhairavi. He sang a 3-4 min alapana before singing the Swathi kriti with some fabulous treatment. One of the best rendition of this , in my listening experience. There was bit of confusion and hesitation as he decided to conclude. There was no mangalam and audience for a while was looking perplexed, before realising it was over.