Vocal : Vid D S Srivathsa
Violin : S Yashasvi
Mrudangam : S V Balakrishna
Morsing : D V Prasanna Kumar
List:
01 shLOkam ( mauna vyAkhyA prakaTita parabrahma) – rEvati
02 ErA nApai ( varNam) – thODi – Adi – Patnam Subramanya Iyer ( O )
03 shrI mahAgaNapati ravatu mAm – gauLA – mishra chAp – Dikshitar ( A,S )
04 varadarAja ninnukOri – svarabhUSaNi – rUpakam – Thyagaraja
05 kAmAkSi ambA ( swarajati) – bhairavi – mishra chAP – Shyama Shasthri ( O )
06 en nenjil paLLikoNDavan shriranga nAyakan – kalyANi – Adi tisragati – Salem Eashwar ( O )
07 shrI rAjagOpAla bAla – sAvEri – Adi x 2 – Dikshitar ( A,N,S,T )
neraval & Swara @ ‘nIrasampUrNa haridrAnadItIra mahOTsava vaibhava mAdhava’
08 cAla kallalADu konna – Arabhi – Adi – Thyagaraja
09 pAlisamma muddu shAradE – madhuvanti – Adi – Purandara Dasa ( O )
10 sAramaina mATalentO – bihAg – rUpakam – Swathi Thirunal
11 muddu tArO rangA – pUrvikalyANi – Adi – Purandara Dasa
12 pAlincu kAmAkSi pAvani – madhyamAvati – Adi x 2 – Shyama Shasthri ( A )
13 thillAna ( tana dhImta dhImta dhiraNA ) – mAND – Adi – Lalgudi Jayaraman
14 indina dinavE shubha dinamu – madhyamAvati – Adi – Purandara Dasa
What a voice. The first sound from him, the majestic ‘Dakshinamoorhty Stotram’ hit me with such a force, getting everyone’s attention immediately. Vey powerful, ease at every register, clarity and precision and rare open throat singing. That would hook you to his music. His presentation were in similar lines. Chaste , ‘traditional’ singing, sans any unwanted ornamentation to it. The kriti singing were also with clear diction, perfect ‘padachheda’ and right emphasis on words. His experience with the dance, probably would have helped here.
Crisp thodi varnam, in his majestic style started off the evening. An immediate alapana, fairly detailed one for Gaula followed. One of my wishlist to the artists for a long while had been a detailed Gaula alapana, and it comes from a very unexpected place. Alapana had a nice return to the signature gaula phrase after each avartana, which was interesting. Vid YAshasvi in his turn deployed the same style.There was no surprise on the kriti. He also sang some good rounds of swaras.
Rare svarabhooshani composition of Thyagaraja was a surprise before the bhairavi swarajati. It is always a pleasure to listen to the bhairavi swarajathi from singers with such baritone voice. The kalyani kriti, listening to it for the first time in a concert, sounded more like a ‘light music’ one.
Another compelling alapana for saveri, refreshing, some often heard phrases and a few innovative takes. Solid, high pitched fast movements were impressive. Rajagopala , after a long time for me. Super neraval at neerasampoorna and brilliant swaras in the usual two speed. Vid. Yashasvi was very impressive through out the evening. His return alapanas the following of composition, the immaculate reproduction during neraval and swaras were great to watch. Percussion team had a mixed day, to me. He was good at certain times but was left wanting at many a times. The duo played an ‘extended’ tani avartanam, after the main.
There was time for a pallavi even after the percussion duo dragged their affair a bit. However he sang a few kritis ( 4 of them) before having a thought on the time at hand. That triggered a FABULOUS alapana of madhyamavati. It probably cast shadow over every thing else of the evening. Such delightful alapana. I was expecting a short pallavi, but he chose to sing palinchu kamakshi instead. Concert concluded with a thillana.
Brain Drain 