Vocal : Sriranjani Santhanagopalan
Violin : Parur M S Ananthakrishnan
Mrudangam : Tumkur Ravishankar
Ghatam : B R Ravikumar
01 shLOkam ( apAra karuNA sindhO) – nAtakurinji
chalamElA jEsE (varNam) – nAtakurinji- Rangaswamy Nattuvanar
02 aparAdhamulanOrva – rasAli – Thyagaraja ( S )
03 rAga ratna mAlikacE – rItigauLa – Thyagaraja ( A,S )
04 annapUrNE vishAlAkSi – sAma – Dikshitar
05 rAmanukku mannan muDi – hindOLam – Arunachala Kavi
06 anjinkin yAtakayyA sajjanarigE – kalyANi – Purandara Dasa ( A,N,S,T)
neraval & swara @ ‘purandara viTTalana pUjeya ADuva – anjinkiyatakayya sajjanarigE ‘
07 viruttam ( nanmayum selvavum) – dEsh
rAma nAmamE tudi manamE – dEsh – Tanjavur Shankara Iyer
08 mangaLam – saurAStram – thyagaraja
shLOkam ( mangaLam kOsalEndrAya ) – surutti
One of the new rising stars of youngsters in the carnatic music arena. With a solid lineage, and an established credentials, the expectations were high. The concert scheduled between 7:30 – 9:30 was apt for us the working people to reach on time. New generation of Mysore Brothers ( sons of Nagaraj and Manjunath respectively) were performing as I entered the hall.
Sriranjani started at 7:30 settled into the rhythm with a few adjustments to the amplification, which continue to torment the artists as well as the listeners well into the concert. The frustration was visible in every ones face. Artists were asking the operators to stay out of the system and the audience constantly complaining about poor volume in the hall. Two ‘apprentices’ were fiddling with all possible knobs even when things were in control. They should do something about this immediately.
Brisk natakurinji varnam was followed by the rasali kriti. She sang some nice rounds of swaras at the end, good stuff. Reetigaula alapana was very good, she could have wounded it up a minute of two early ( bit dragging towards the end). Raga ratna malikace was sung well. But her kalpana swaras were exquisite. Very novel, very fresh approach. Impressive grouping of swaras in some brilliant patterns were awesome.
Two fillers that came in before main were dampeners. Some how, annapurne vishalakshi did not come out well ( to me). She stumbled a few times, her pAThAntaram( version) wasn’t very appealing. Probably some of the sangatis did not come out as good as they were intended. I could be biased against it, having listened a masterful rendition by KVN on Sunday, which included detailed alapana and neraval at pAyasanna’. I might be judging her harsh. The hindolam too was feeble.
Kalyani alapana started off with some brilliant slow melodic phrases, which grew into some fast paced bhriga laden singing at middle and high octaves. She did a commendable job. Looks like, Kalyani does not go well with many others as well ! There are constant exodus since she started her alapana. Personally, this is very disheartening to see. I am not advocating , they should have waited till tani avartanam :-).
Brave attempt to sing a Purandara Dasa kriti as main, that too one that is hardly heard. Nambi Kettavar and Kallu Sakkare are heard occasionally ( as the moderator during the speech mentioned), but this was awesome. She did a great job with it, which included some classy neraval as well as fitting swara prasthana.
Parur Ananthakrishnan did slip occassionally, but was living up to his families reputation. His reetigaula and kalyani alapana were competent. He played well for the intricate swara patterns she exhibited for reetigaula and kalyani. Tumkur Ravishankar ( continued from the previous concert – with a changed mrudangam) was in his elements. I always like his accompaniment. The duo, played out a decent tani avartanam. There was not enough time to do anything worthwhile post the main and felicitations. She concluded the concert with Tanjavur Shankara Iyer.
Very good concert amidst poor acoustics. Reetigaula swaras and the main kalyani kriti were the highlights of the evening.