Vocal : O S Thyagarajan
Violin : Vittala Rangan
Mrudangam : Anoor Ananthakrishna Sharma
Ghatam : Giridhar Udupa
01. erA nApai ( varNam) – thODi – Adi -Patnam Subramanya Iyer ( O )
02. nI bhakti bhAgyasudhA – jayamanOhari – rUpakam -Thyagaraja ( S )
03. sundara tara dEham – pantuvarALi – Adi – Thyagaraja ( N,S )
neraval & swara @ ‘rAgAdi samhAram rAghavam udAram’
04. sanAtana paramapAvana – phalamanjari – Adi – Thyagaraja
05. rAma daivamA – surutti – Roopakam – Thyagaraja ( A,S )
06. amma rAvamma tuLasamma – kalyANi – khaNDachAp – Thyagaraja ( N,S )
neraval & swara @ ‘tAmarasa daLanEtru tyAgarAjuni mitru’
07. ETi janmamidihA – varALi – mishra chAp – Thyagaraja
08. chakkanirAja mArgamu – kharaharapriya – Adi x 2 – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ kaNTiki sundarataramaku rUpamE ‘
09. lAli yugavE -nIlAmbari – Thyagaraja ( O )
10. mangaLam – saurAStram – Thyagaraja
Vid OST’s concert have some staple ingredients. These days, they are largely limited to Thyagaraja compositions. He has a sense of measure to his singing. The alapana, neravals and kalpana swaras each of them takes a set pattern, they are apt and appropriate quantities. Which is why I like to attend his concerts. One comes back home with a sense of experiencing the essentials of carnatic music.
Sunday’s concert was also rich in the selection of ragas and kritis. While he mentioned in the middle of the concert that this is going to be an all Thyagaraja composition concert, relating his name and the residence number to the great composer, on a lighter note. However, his selection of kritis and the elaborations were very impressive. We were talking about surutti , the same after noon, and about its disappearance from concert these days and here comes a majestic alapana. Fablous neravals for pantuvarali ( as I always mention, an early pantuvarali neraval and swara can definitely lift the concert), nice selection of jayamanohari and phalamanjari in the middle, grand surutti piece before a surprise kalyani neraval and swaras ( I was happy there was no alapana for kalyani, but I can always manage to sit through kalyani kriti and neravals) were very good.
One should talk about the accompanying artist here. In most of the times it is they who make or break the concert to the audience. From the start it was evident that there is great synergy on stage. Vid Anoor Ananthakrishna Sharma, played delectably through out the evening, supported outstandingly by Udupa. Vittalarangan was on his elements, while following and in his turns. They made the difference in the evening.
Kharaharapriya alapana was very elaborate and good with some interesting phrases and a classy wind up at lower octave. I was hoping for ‘ni samanamevvaru’ but it had to be ‘chakkani raja margamu’. One does not get tired of listening to it again and again. Majestic neraval at ‘kantiki sundara’, detailed swaraprasthana in two speeds etc followed as expected. Percussion team played an excellent tani avratanam. There was no ‘banging’ the instrument, no gesticulation, no unwanted exhilaration, but delectable rhythmic poetry of instruments. I loved some of the ghatam returns.
There was nothing left to do post the main as he had spent enough time through the concert on larger pieces. The concert was soon wound up with a nilambari kriti and mangalam.