Vocal : Pantula Rama
Violin : M S N Murthy
Mrudangam : H S Sudheendra
Morsing : M Gururaj
01. endu kaugilinturA – shuddha dEshi – Thyagaraja
02. E dAri sancarintu rA – shruti ranjani – Thyagaraja ( A,S )
03. cEDE buddhimAnu rA – aThANa – Thyagaraja ( S )
04. p(r)akkAla nilabaDi – kharaharapriya – Thyagaraja ( A,N,S )
niraval & svara @ “tanuvucE vandana monarincucunnArA’ and ‘manasuna dalaci mE maraciyunnArA’
05 kOdanDarAmam anisham – kOkilAravam – Dikshitar
06. RTP – bilahari – chaturashra tripuTa x 2 kaLai, 6 aksharam eDuppu
pallavi line ‘ shrI raghurAma cArutuLasidAma shRngAra rAma’
rAgamAlika swaras in sahAna & naLinakAnti
07. tani Avartanam
08. shLOkam ( shrI rAma rAma rAmEti )- chenchurutti
rAma rAma rAma rAma rA rA sItArAma – chenchurutti – Thyagarana
09. pUla pAnpu mIda bAga – Ahiri – Thyagaraja
10. nI nAma rUpamulaku – saurAshtram – Thyagaraja ( all the charaNams )
Fabulous concert yesterday evening at the Seshadripuram Rama Seva Samith by Vid Pantula Rama. What a refreshing list of raga and compositions. Each selection and presentation were a gem and very unique. I always liked her concerts, in its overall preparation and presentations. Staying with the tradition, she offers so much freshness to the listeners on every occasion that I’ve listened to her. Yesterday was even better.
Concert started with a beautiful composition in shuddha deshi. Very mellifluous bringing the entire audience into the realm of a different world. Nice little rounds of svaras added to the beauty of the composition. Soon she started her first alapana of the day. The initial phrases reminded us of ‘KAntAmaNi’ but soon it was evident it is not as she moved to the next few phrases which had a nice folkish feeling to it. Having someone like Keerthi next to you make it easier for you to get the name ‘shruthi ranjani’. MSN Murthy repeated those moving ‘sancharas’ in his alapana as well. No surprises on the kriti as it probably was the only choice after that brilliant alapana. E dAri sancArintu rA was sung with the same rich emotive quotient as the lyrics was conveying. MSN Murthy was equally eloquent in his turn. The kalpana swara that followed was in keeping the same feel alive.
A quick fire aThANa came in like a machine gun fire with a similar top speed swara fireworks. The percussion team always like these fast tempo high octane singing. The overall decibel levels and speed went up many folds, but was enjoyable.
An elaborate alapana of kharaharapriya came in its full grandeur. The way it was build was evident that she is taking it up for main. A few return to the same phrase before building up from there was observed. It was an alapana of top class. Few choices for a submain flashed through mind as it was fairly early for the evening. She, of course, had other plans. P(r)akkala nilabadi was superbly sung. The syllable ‘r’ was very strong in her ‘prakkAla’. Most of the Chennai / Kerala based singers sing it as ‘pakkAla’, but I’ve seen many Andhra based artist do it as ‘prakkAla’. She sang neraval at ‘tanuvuche vandana’ and ‘manasuna dalaci’ alternately. So much of importance was given to the lyrical meaning and the way each words are pronounced in the early phases of the neraval, emphasizing on the meaning (which she later confirmed in a short remark). I heard her deliberating on ‘vandanamu manasuna’ a couple of times to some great effect. The second phase of the neraval was more traditional and structurally appealing. It was an outstanding niraval to sum it up. Kalpana swaras followed the same ‘two place’ approach , both at tanuvuche and manasuna. Very intelligently executed by both the vocalist as well as the violin accompaniment. The split swara continued to the till the end. Brilliant.
There was no tani avartanam and that meant she is going to sing a pallavi, which is what she announced. She sang another gem of kokilaravam kriti. The only composition which is not by Thyagaraja. I’ve heard this kriti from TNS and his disciples a number of times, but this sounded a bit different and in a more pleasing tempo. Probably, this might have minimal ‘kOkilapriya’ influence or vice versa.
Bilahari was the pallavi. Alapana was decent, nothing spectacular from either of them. Tanam was much better , the middle parts were very very good. Pallavi was set to Adi tala, no great shakes there either. I have a personal theory here on my preference. If the RTP is in any of the ‘non regular’ raga, I prefer the pallavi setting to be normal in tisra triputa or chaturashra triputa. However, if it is in any of the leading (! ) raga, I prefer some speciality in the pallavi setting. A bit of tala complexity, that showcase the skill/vidvat of the singer. Pallavi line was also just ok, she sang dhAma a few times ( or so I was hearing) and as dAma later part of the pallavi. There was ragamalika swaras but again noting great to talk about. Sudheendra and Gururaj played out a good tani avartanam. Sudheendra, especially was very good through out the evening though the overall amplification was slightly at a higher side ( not his alone ! )
Post main was again had some impressive selection. Most of them were new to me. The chenchurutti / jinjhoti kriti of Thyagaraja and a rare gem of ahiri divyanama kirtanam. Both were very very impressive. She concluded singing the mangalam in its entirety. I’ve not seen / heard any other artist apart from a few recordings of MDR, singing the mangalam in its completeness. Admirably, no one got up to leave until she completed all the charanams of the mangalam.
In all, a fabulous concert almost entirely of Thyagaraja kritis with some great selection of ragas and compositions.