Vocal : Cherthala Ranganatha Sharma
Violin : Vittala Rangan
Mrudangam : V Krishna
Ghatam : Sukanya Ramgopal
01 mAtE malayadhwaja (varNam) – khamAs – Muthaiah Bhagavathar ( O )
02 tatvamariya taramA – rItigauLa – Papanasam Sivan ( S )
03 aTu kArAdani – manOranjani – Thyagaraja (A,S )
04 shrI kamalAmbikAyAm – sahAna – Dikshitar ( O )
05 kAmAkSi kAmakOTi pIThavAsini – sumadyuti(simhEndramadhyamam) – Dikshitar ( A,N,S)
niraval & svara @’kamalEsha sOdari kamalAkSi nArAyaNi’
06 karuNAnidhi ilalO – thODi – Shyama Shasthri
07 Emi nEramu – shankarAbharaNam – Thyagaraja ( A,N,S,T )
niraval & svara @’ dIna bandhuDani dEvadEvuDani’
08 shLOkam ( yOgIndrANAm ) – sindhubhairavi, kApi, behAg, bhAgEshri
sAgara shayana vibhO – bhAgEshrI – MDR
09 nAma japan kyOn chOD diyA (bhajan) – madhuvanti – ? (A )
10 rAma rAma rAma rAma rAmA ennirO – shubha pantuvarALi – Purandara Dasa
11 thillAna ( dhIm tana ta dhIm tanatana) – pahADi – LGJ
12 shLOkam ( mangaLam kOsalEndrAya ) – madhyamAvati
Dr Ranganatha Sharma’s music is to me is the reference to carnatic classical music. Powerful, natural voice with open singing, the clear and decipherable lyrics, the traditional path and musical aesthetics that goes with my appreciation, delectable ‘manodharma’ and a pleasant stage manners. Which is why I make a point to attend every possible concert of him in Bangalore. Yesterday was yet another display of his knowledge and skill.
While I thought the main was below par to his stature, the concert overall was again of a very high standard. A beautiful start to the concert with Mate malayadhwaja’; I wonder why not many people sing this more often. Quick reetigaula kriti and few rounds of speedy svaras set the concert in roll with the rest of them ramping up to the main artist. Very good, albeit short, alapana of manOranjani came in ( he came in to the rescue by announcing the name) and as expected aTu kArAdani was taken. Very impressive svaras added to the kriti, with both vocalist and Vittala Rangan sang some nice svara patterns.
Sahana piece which followed , to me, was the best part of the evening. A very short delightful raga sketch, leaving me in trance , wanting him to continue. But he sang one of the most moving piece of the evening with ‘shrI kamalAmbikAyAm’, Dikshitar’s ‘navAvaraNa’ kriti. Shear ectasy.
Simhendramadhyamam alapana was decent, Vittala Rangan played some good phrases in his turn. Dikshitar’s composition again, with good rounds neraval and nice rounds of svaras. Last month, V R Dileepkumar sang the same kriti at the same venue. Karunanidhi ilalo, interestingly came in before the main. At times, it is good to listen to a ‘thodi’ sans any ‘prefix’ or ‘suffix’.
Shankarabharanam was main and from then it was evident a Thyagaraja composition is to come. The alapana was good, but I’ve heard much better ones from him. Choice of Emi Neramu was again interesting. I was expecting ‘endukku peddalavale’ or ‘svara raga sudha’. Emi Neramu is a shorter composition and probably wasn’t big enough for the day since there was no pallavi to follow. However, he sang very elaborate niraval at deenabanchudani , and finished it with some classy extensive take. The kalpana svaras again were of top class in two speed with some brilliant laya variations. The conclusion of the swaras were again very very good.
PRof V Krishna and Sukanya Ramgopal played a spirited tani avartanam post main. The percussion duo did a commendable job through out the evening. Vittala Rangan was very good, played most of the intrinsic laya patterns of the main artist ( except some confusion towards the end of the shankarabharanam swaras) and played most of the alapana commendably.
Post main was first class. Shlokam in ragamalika was awesome ( he gave young violinist chance at the end of each sojourn) and MDRs masterpiece in bhageshri was a pleasure to hear. A shortish alapana (without violin return) in madhuvanti? before a bhajan, a devarnama in shubha pantuvarali and Lalgudi thillana in pahADi were nice selection. Shubha pantuvarali was sang in ‘madhyamashruti’, I think. I am used to the Hyd Brothers version of the thillana, and found this slightly different ( it could be my conditioning). He concluded the concert with a shlokam in madhyamavati.
Another good concert from Sri Ranganatha Sharma.